PR 4089 
.B66 H8 
1875 
Copy 1 



PRICE IS OEIVTJS. 



v^, DE WITT'S ACTING- PLAYS, c *&fh 

(IS umber 190.) 



HITIG THE SLIPPERS ; 

OR, 

PAINLESS DENTISTKY. 

A FARCE, 

1 1ST O IS T " E SCENE. 

/ 
By MARTIN BECHER, 

■ Author of " .4 Domestic Hercules," " R"i' Britannia," " /« fte irron^ House; 

or, No. 6 Deifce Street,** " J/.y I7»cl< 's S»« ; or, /« Possession," " .-1 

Poetical Proposal," " .1 Crimeless Criminal," etc., etc. 

TO WHICH ARE ADDED, 

A description of the Costumes— Synopsis of the Piece -Cast of the Characters 

—Entrances and Exits— Relative Positions of the Performers on 

the Stage, and the whole of the Stage Business. 




Jlito- Qoxk : 
ROBERT M. DE WITT, PUBLISHER, 

jfo. 33 Hose Street. 




NOW 



f UIR. X. A Farce. In One Act. By Sydney Rosenfeld. Price fifteen 
j cents. 
IEAI>Y. I LEA1» YEAR. A Musical Duality. In One Act. By Alfred B. Sedg- 

l wick. Prioe fifteen cents. 



DE WITT'S HALF-DIME MUSIC 

OF THE BEST SONGS FOR VOICE AND PIANO. 




r S SECRlES of first class Songs contains the 
Words and Music {with the Piano accompaniment) 
of the most choice and exquisite Pieces, by the most 
able, gifted and most popular composers. It contains 
every style of good Music— from the solemn and 
pathetic to the light and humorous. In brief this 
collection is a complete Musical Library in itself, both of Vocal 
and Piano-Forte Music. It is printed from new, clear, distinct, 
elegant Music Type, on fine white paper, made expressly for 
this Series, and is published at the low price of Five Cents. 

Remember, Each Number contains a Complfte Piece of 
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Any Twenty Pieces mailed on receipt of One Dollar, postage paid. 
I3T- PLEASE ORDER BY TBE NUMBERS. «=©& 

Address, E. M. DE WITT, Publisher, 

2$ Rose Street, JV. T. 

* SENTIMENTAL SONGS AND BALLADS. 



No. 
3. 
S. 



14. 
16. 
SO. 
XI. 
S8. 
*S. 
2C 
31. 
30. 
35. 



Composer. 

Lever's Let tr>r-U«.x Wrighton. 

Thy Voice is Sear Wrighton. 

Blue-Eyed Violets Jackson. 

The Maiden and Her Linnet. 

Montgomery. 

Soft Dew is Sleeping Barker. 

When the Roses Blew Alien. 

Beautiful Bells Ooote. 

The Mother's Dream Sullivan. 

Mr Spirit Star Young. 

Little Maggie Hay Blamphin. 

The Vagabond Molloy. 

My Heart is O'er tho Sen. .Claribel. 

Maggie's Welcome Claribel. 

•reaming or Nellie Hogett. 

Five O'Clock in tho Morning. 

Claribel. 
■ho Canto and Vanished Like n 

Dream Baucher. 

Meet Me in tho U» Blamphin. 

Tapping nt the tardea Gate. 

Sleeping on Guard Wrighton. 

Mummer Dew Barker. 

Oh. My Loot L.t. 



No. 




Composer. 


5f 






55. 


Jess Macf arlane 


Tucker. 


ST. 


Yes, I'll Meet Thee. 


Dearest. 

Blamphin. 


5». 


Hattie Bell 




61. 


Whisper •• Yes," or 


* No," Love. 

" Adele." 


OS. 


Her Bright Smile 


Haunts Me 




Still 


Wrighton. 


63. 


Oh. Cast that Shadow from Thy 








64. 


Love IVot 


Blockley. 


65. 


She Wore a Wreath of Roses. 






Knight. 


TO. 


Pretty Little Dark Eyes.... Parker. 


T«. 


When we went a Gleaning. 






Oans. 


T4. 


Mary of Argyle 


Nalsoa. 


T5. 


What Did Little Birdio Say? 






Balia. 


T«. 


Slag. Birdie. Sing... 


Gaas, 


T8. 


Spring-Time of Lite 


iacksoa. 


TO. 


Nightingale's Trill... 


Cram. 



HOTMG THE SLIPPERS; 



OR, 



PAINLESS DENTISTRY 



% ifawe, 



IN ONE SCENE 



BY MARTIN BEOHEE, 

Author of " A Domestic Htrcules" " Rule Britannia,'* " ]>i the Wrong House ; or, No. 

G Duke Street" " My Uncle's Suit; or, In Possession," ^ A Poetic 

Proposal," " A Crimeless Criminal" etc., etc 



iJ 



AS FIRST PERFORMED AT THE ADELPHI THEATRE, LONDON, UNDER 
THE MANAGEMENT OF F. B. CHATTERTON, JUNE 12, 1875. 



TO WHICH ARE ADDED, 

A DESCRIPTION OF THE COSTUMES — CAST OF THE CHARACTERS — SYNOP- 
SIS OF THE PIECE — ENTRANCES AND EXITS — RELATIVE POSI- 
TIONS OF THE PERFORMERS ON THE STAGE, AND THE 
WHOLE OF THE STAGE BUSINESS. 






NEW YORK: 
ROBERT M. DE WITT, PUBLISHER 

No. 33 Rose Street. 

(BETWEEN DTTANK AND FRANKFORT STREETS.) 




Copyright, 1875, by Robert M. De "Witt. 



2 HUNTING THE SLIPPERS. / \\lO < 

CAST OF CHARACTERS. I * 

Adelphi Tin ulrc, Lon- 
don, June 12, 1875. 

Mr. Vanderpurap Mr. Moreland. 

Philip Puller (Dentist ) M. J. G. Shore. 

Jack Castleton (Doctor) Mr. H. Cooper. 

Peter Pimbuffle Mr. J. Fawn. 

Euphemia (Mr. Vanderpump's Daughter) Miss E. Phillips. 



COSTUMES-MODERN 



TIME IN REPRESENTATION— THIRTY-FIVE MINUTES. 



TIME- THE PRESEN' 



SCEXERY. 



Scene.— A good large operating room for a dentist. A very large chair and foot- 
stool, such as are generally to be found in dental offices. Usual chairs, tables, 
placed about the apartment. A practicable cupboard back. Door l. tj. e. 



RROPERTIES. 
Receipt for rent ; dentist's tools on table ; handkerchief for Pimbuffle ; tooth 
for Jack ; a dozen pairs of old slippers, of all sorts and sizes ; a few old boots, do. 
do. ; four bank-notes for jEIOOO each ; bag of gas as used by dentists. 



SYNOPSIS. 



A dentist's operating-room is the scene in which all the action of the piece occurs. 
Philip Puller is standing by his operating-chair, conversing with Euphemia Van- 
dekpump, who lives upstairs. A knock interrupts them, and the young couple are 
alarmed lest it should be Mr. Vanderpump, the young lady's father But Phil, 
remarking that the old gent is very absent-minded, and seldom notices anything' 
pushes Euphemia behind the large chair, and opens the door. The old man has 
brought a receipt for the rent, and then begins poking round, and asking questions 
while Phil has to adroitly turn the chair so as to screen the young lady. At last 
they get rid of him. Then the young folks have a delicious bit of flirtation, which 
is interrupted by their hearing some one on the stairs, asking for Mr. Puller's 
room. Phil now hides Euphemia in the cupboard, but a bit of her dress is exposed 
when the door is shut. Jack Castleton, a great crony of Phil's, enters, and after 
a little chat, tells Phil that his rich uncle is at the Hummums Hotel, waiting for him 
Phil dare not disappoint his uncle, and, failing in all attempts to get Jack to go 
with him, is obliged to leave him in the room ; while he hurries off, Jack seats him- 
self in the operating-chair, when Peteu Pimbuffle enters (on his way to Vander- 
pump's rooms), to have a painful tooth drawn. Here the fun gets fast and furious, 
as Jack, after nearly pulling Peter's head off, draws the wrong tooth. The droll- 
ery being much increased by the fact that Pkter is an inveterate stutterer. ' Jack 
discovers Euphemia by the piece of her dress, and she explains her presence in the 
closet by the " thin " pretext that she wanted to discover the secret of " Painless 
Dentistry." At this moment, Philip returns, out of breath. A series of discoveries 
take place, by which it is evident that all three of the gentlemen are anxious to ob- 



HUNTING I HE BLIPrKKS, O 

tain Edphemia's hand. Vander pomp, attracted by the noise, comes in, when the 
lovers, each in his way, begin to urge their claims. The old gentleman is in no 
mood 'to listen. His boots hurt his feet, and he can't find his old slippers. His 
daughter tells him that she has worked him a new pair, and bad sold his old ones. 
Va.ndekpump is electrified, and as soon as he regains the power of speech, relates 
how he had placed two bank-notes, of £ 1,000, between the lining and sole of each 
slipper. His auditors are astounded. Then the old man offers his daughter's hand 
to whoever will recover for him the valuable articles. Here a funny game of hunt 
the slippers begins. The three lovers, after a short absence, return wit h armsiull of 
quaint and queer foot coverings; but not the identical pair. The old man grows 
frantic. Phil, to soothe him, administers a dose of gas. The patient falls into a 
trance. Then he begins to move his feet excitedly. Thil exclaims ; " Ha 1 he is 
going to kick ! off with his boots !" They draw them off, and out fall the missing 
bank-notes. After some amusing badinage, Euphkmia is awarded to Philip Pul- 
ler, who closes the very, very amusing piece by remarking : " I always had great 
faith in * laughing gas • for the purpose of ' Painless Dentistry ;' but until this 
evening I never knew it was powerful enough to procure a man a wife, and extract 
bank-notes out of old boots."' 



EXPLANATION OF THE STAGE DIRECTIONS. 
The Actor is supposed to face the Audience. 



SCENE, 



XI. 3 E. 

5.2 k. 



E.13. 



/ 



/ 



R. B. O. 



AUDIENCE. 



L. Left. 

l. c. Left Centre. 

l. 1 e. Left First Entrance. 

l. 2 e. Left Second Entrance. 

l. 3 E. Left Third Entrance. 

l. u. e. Left Upper Entrance 

(wherever this Scene may be.) 

o. L. c Door Left Centre. 



\ 



r,. 2 & 



L. I 



c. Centre. 

B. Right. 

r. 1 e. Eight Eirst Entrance. 

r. 2 e. Right Second Entrance. 

r. 3 E. Eight Third Entrance. 

r. v. E. Right Upper Entrance. 

r>. r. c- Door Eight Centre. 



HUNTING THE SLIPPERS ; 

OR, 

PAINLESS DENTISTKY. 



SCENE. — A dentist's operating room, with usual chair. — Usual chairs tables, 
etc., about. Practicable cupboard — door L. u. E. 

At rise of th$ curtain, Euphemia if discovered standing by the operating 
chair, talking to Philip Puller. 

Philip. Eh ! somebody coming 1 By Jove ! so there is 

Euphemi\. Oh. Phil, if it should be papa! 

Phil. Not likely, Phemy — but if you're frightened, here, stoop down 
behind this big chair. Your governor is so short-sighted, and so ab- 
sent-minded that he'd never see you. (puts her behind chair) There, 
that's all right. 

Knock at door, and enter Vanderpump. 

The venerable one himself, by all that's unlucky. 

Vanderpump. How do 1 how do 1 Only looked in to hand you the 
receipt for the rent, {gives it to him) Well, how's '' Painless Dentistry V 
paying, eh 1 Lots of business 1 Ivory trade brisk, eh ? 

Phil. The practice, Mr. Vanderpump, is in a most flourishing condi- 
tion. At this time of the day business may be said to be over ; for in' 
fact I'm going to lock up the premises— shut up shop, I suppose you'd 
call it — and fly away home. (Vanderpump saunters slowly round chair, 
and Philip is obliged to keep turning it as he moves, to hide Euphemia.) 

Vand. I say, " Painless Dentistry's " humbug, now isn't it 1 Only 
sugaring the bread and butter, to disguise the powder you're giving the 
children, eh? 

Phil. Not a bit — I can't stay to night for I'm in a hurry ; but if you'll 
come to-morrow morning I'll takeout your soundest double-tooth, if 
you've got such a thing — and you shan't know anything about it. 

Vand. Well, much obliged, I think I'd rather not — but tell, just tell 
me this, if it's " painless," why the deuce do the poor devils holloa so 1 
When I let you these down-stairs rooms of mine, you particularly prom- 
ised me that your trade should not annoy me. Now, when I'm reading 
my paper of a morning — over this, every now and then I hear, " Ah ! 
oh !" not pleasant, young gentleman, I can tell you — makes me feel as 
if I were having all my teeth out by proxy, and just a leclle shakes my 
faith in the " Painless" theory. 

Phil. Imagination Mr.' Vanderpump — all imagination. Nobody ever 
says ;c Ah !" and I take immense care to see they don't say " Owe I" 
— because mine's strictly a ready money business. 



UUNl'IKG THE SLIPPERS. 6 

Vand. Ha, ha! very good, Mr. Philip Puller — hut .although I'm not 
a young man from the country — egad! you don't get over me. llow- 
evel - — I didn't mean to complain, my boy — so make hay while the sun 
shines — cultivate your achers—ha,, ha! a long pull, a strong pull, and a 
pull all together — bye-bye! (is going out) Hilioa ! I've lost my gloves 
(goes round chair to look for them, whilst Philip has to hep turning it) No — 
here they are. Now we are off at last. [Exit. 

Phil. Thank goodness ! and please don't come back. Come out of 
your chairiot, Phemy — what a comfort it is to think the governor's so 
funny, and so near-sighted. 

Eup. Ah, but he isn't always funny, Phil. But just think what a he- 
roine I am to run such dreadful risks by coming down to see you for a 
few seconds, as you begged. 

Phil. And -for which kindness, Phemy, dear, I shall be grateful — as 
Edgar Poe's raven says — "forever more." 

Eup. But I've had such a dreadful fright this time, that I don't think 
I shall venture again. 

Ph-l. Don't say that, Phemy ; you see things are going on swim- 
mingly with me here; but I'm not quite in a position yet to ask the 
governor for his consent and benediction, and all that sort of thing. 
Meanwhile, I must have a look at the sun now aud.then, or else I shall 
— what do the poets call it ? — wither and die. 

Eup. I suppose you mean you must have a look at the daughter now 
and then 1 

Phil. Well, though it sounds paradoxical, vou're right — my sun is a 
daughter. 

Jack (speaking outside). This is Mr. Puller's door, is itl Thank you. 

Eup. Good gracious ! There's some one else coming, I declare. 

Phil. Oh, bother the people ! What on earth do they mean by com- 
ing here after business hours ? However, it isn't the governor this time 
— that's a blessing. Look here, Phemy, get into this cupboard. I'll 
send the fellow off in no time — whoever he is. (puts Euphemia into cup- 
board, but in putting her in, leaves a bit of her dress hanging out, without see- 
ing it. Knock at door heard) Come in — and look alive about it. 

Enter Jack Castletun. 

What, Jack Castleton 1 (shakes hands with him.) 

Jack Yes, which it is, old man, and no mistake. Hech, sirs, as old 
Doctor M' Stiff used to say in his lectures, and so you're developed into 
a full blown dentist. Now, if there were such things as guineas— which 
there ain't— and I'd got one— which I haven't— I'd manfully wager it 
that you couldn't pull out one of my teeth under ten minutes. No! 
stop ! it isn't a bet, so I'm not going to let you try. 

Phil. I'm delighted to see you, Jack, I've no end of things to tell 
you. All sorts of funny games since we parted. Look here — no ex- 
cuses you know — you must dine with me to-night, sharp seven, at the 
Tavistock. 

Jack. All right, Phil — I'm on. I've nothing to do in town, and I'm 
doing it thoroughly. 

Phil. That's settled, then. Now, trot along, old boy, till seven. I'm 
fearfully busy. 

Jack. Gammon ! Not polite, perhaps, but forcible. 

Phil. It's a fact. I've a set of teeth for an old girl I must finish be- 
fore I leave. 

Jack. I'll stop and help you— by looking on, I mean, (sits, k. c.) 

Phil. That would only hinder me. Besides, I've got to take them to her. 



6 HUNTING TlfE SLIPPKKS. 

Jack. Right you are — I'll go with you. I'm game for a walk. Give 
me an appetite for your feed, too. 

Phil, (aside). What on earth am I to do to get rid of him ] You 
can't very well strangle a man you've asked to dine with you 

Jack. Oh, I say, Phil, (crossjs to c.) the funniest co-incidence you ever 
heard of. I was coming to you — (Phil fidgets nervously) — ah, that re- 
minds me why I came — but I'll tell you this first ; I was coming to you 
with a message, and when I inquired your address, by the blind goddess 
with her eyes tied up, if I didn't lind you were occupying old Vander- 
pump's ground floor. 

Phil. Well— what of that 1 

Jack. What of that? Why, old Vanderpump's a friend of mine — 
friend of our family. Isn't it odd % Yes. I know what you are going 
to say. You never heard ine speak of him 1 Tell you why, old fellow 
— his daughter hath my love. The dear girl. Euphemia's image has 
been shrined in this heart for many a day. 1 say, you're not ill, are 
you ] (Phil is grinding his teeth) By-the-bye, perhaps you know her 1 

Puil. Er— slightly. 

Jack. Phil, we have been ancient chums, and if we are to remain 
great friends, let me recommend you to keep your acquaintance with 
Euphemia on the very slightest footing, for I may as well tell you, our 
respective parents have designed us for each other. 

Phil, {aside, and groaning). Human endurance has its limits — upon my 
life — I — don't see my way out of strangling him. 

Jack. Ha, excuse me, my dear boy, for forgetting in the pleasure of 
this meeting, the frightfully urgent business that brought me here. 
Your uncle 

Phil, hurriedly). What of him, Jack ? 

Jack. Is waiting at the Hummums to see yon. I volunteered to 
fetch you, because the old gentleman hadn't a moment to spare. We 
travelled up from Oxford together to-day, and he's off to Devonshire by 
the 6:30 from Paddington. He wants to see you directly, and unless 
you make haste you'll barely have time to catch him. 

Phil, {aside). Oh, what the dickens am I to do % I mast try to see 
him, but I can't leave Euphemia in that cupboard, (aloud) I'm very 
sorry, I can't possibly go to him. Just run and say so — there's a good 
fellow — or stay, you go and say I'm coming. I'll be after yon in no 
time. 

Jack. What's the use of my going, then 1 No, no, you cut along. 
It's worth your while, 1 can tell you, old boy, for the old gentleman im- 
parted to me, in the strictest confidence, that he had three hundred 
pounds to give you ; and I know I wouldn't be three hundred seconds 
in going, if any discriminating person proposed to fling that sum at my 
head. 

Phil, (aside). Three hundred pounds ! Why, I could propose to 
Phemy at once ; and he's such a crotchety old fellow, that if I don't go 
the chances are I shall never get the money at all. I must risk it. I'll 
take Jack with me, and then Phemy can slip up stairs, (aloud) I sup- 
pose I must go at once then. Come along, Jack — let's look alive ! 

Jack. Rush off like steam, old man — don't wait for me — I'm not go- 
ing. 

Phil. Pshaw! We mustn't part now after being away from each 
other so long. 

Jack. Well, you are an oddity. Just now you wanted to get rid of 
me at any price, and now — but — seriously speaking, look alive, Phil, or 
you'll miss the old gentleman. 
Phil. And you 1 



HUNTING THE SUITERS. / 

Jack. I'm going upstairs to call on old Vanderpump. 

Phil. He's out ! 

Jack. All the better. I shall enjoy a tete-a-tete with Euphemia. 

Puil. She's out. 

Jack. I say, old boy, you seem to be well up in the movements of 
the family. Then I'll stay here, and look after the practice for you. 
Upon my honor, you'll be too late, and if you are, away goes that three 
hundred ! 

Phil, {snatching up his hat). Confound it! you'll drive me mad. Well, 
{going cIosj to cupboard, and speaking very loud) I'll go — but I won't be 
ten minutes away. 

[Exit hurriedly — Jack seats himself in the operating chair. 

Jack. Funny fellow Phil seems to have grown into ! Wasn't like 
that when we were students together, three years ago. Wonder whether 
he really has any patients'? What a spree if some one would come in 
now ] I should be all ready for them, though I haven't pulled out a 
tooth since I practised on a sheep's jemmy at St. Barnabas, {knock) 
Come in ! 

Enter Peter Pimbuffle, holding a handkerchief to his face. 

Peter {stuttering). Pup-pup-pup-painless dentistry, eh ] Do you 
pup-pup-pup-profess to take out teeth without pup-pup-pup-pain 1 

Jack. Unquestionably ! AVe have reduced our system to a science. 
Bah ! There's no such thing as pain ! 

Peter. Then if you pup-pup-promise that it shan't hurt, I think I'll 
be a pup-pup-pup-patient, and have it out. 

Jack {putting him in operating chair). Of course ! The only thing you 
could do. (looks for the necessary forceps?) 

Peter. Ha ! ha ! Do you know what made me come to you, Mr. 
Pup-pup-Puller 1 

Jack {loftilg). My reputation, no doubt. The fame of the process is 
spreading everywhere, (goes on selecting forceps.) 

Peter. Not at all ! I came here because it's so pup-pup-pup-pre- 
cious convenient. You see, I'm an intimate friend of Mr. Vander-pup- 
pup-pump, up stairs. (Jack starts) I'm going to call on him, so I 
thought it wouldn't be a bad idea to be pup-pup-pup-painless dentis- 
tried first. 

Jack {coming forward). Oh! you're an intimate friend, are you ] 

Petek. Yes ! I pup-pup-purpose being his son-in-law. 

Jack [dropping forceps). The devil you do! 

Peter. Yes ; I'm rich, but I'm not pup-pup-pup-proud, and Miss 
Vander-pup-pup-pup-pump is a very pup-pup-pretty girl. 

Jack. Ha ! what does she say to it 1 

Peter. Say ! What should she say 1 She's pup pup-pup-passion- 
ately fond of me. 

Jack {aside). Oh, is she ? Then I pity her taste. I thought I'd let 
him off till Phil came back, but after that I'll pull out every blessed 
tooth in his head, [to Petkr, with ferocity, and approaching with forceps) 
Now. which is it 7 

Peter. This ! but mind, I won't pup-pup-pup-pay, if it isn't quite 
pup-pup-pup-painless. 

Jack. Cease this wretched trifling, man, and open your mouth. 

Peter. But i say 

Jack. Hold your tongue! ( puts forceps into Peter's mouth, and is sup- 
posed to pull out a tooth with desperate wrenches, during which Peter kicks 



8 HUNTING TUB SLIPPERS. 

and screams violently) There ! (holding up tooth) What the deuce are you 
kicking up all that row about ? 

Peter. Oil ! oh ! oh ! Is that what you call pup-pup-painless ? 

Jack. Certainly ! isn't your tooth-ache -Jured, you ungrateful beast? 

Peter. No, it isn't. You've taken out the wrong tooth ! 

Jack. That's soon remedied—we'll have the right one out in a twink- 
ling. 

Peter {starting out of the chair). Not if I know it ! I want to wipe 
my face, if you pup-pup-pup-please. 

Jack (aside). I wonder where Phil keeps his towels ! (looks round and 
sees the end of Euphemia's dress sticking out of the cupboard) Oh, here's 
something here in this cupboard I suppose, (opens door and Euphemia is 
discovered) Phew ! Euphemia ! 

Peter. Eu-pp-pup-pup-phemia. I say, Mr. Pup-Puller, what does 
this mean ? 

Jack {aside). I think I begin to understand Phil's knowledge of the 
family affairs. 

Peter. Do you hear, I say? Ex-pup-pup-pup-plain 1 

Jack. Oh, bother you and your pup-pup-pup 

Eup. Gentlemen — I take you both into my confidence. I have dis- 
covered it all. 

Jack. All! all what? There isn't a skeleton in the cupboard, is 
there 1 

Eup. (mysteriously). Hush ! Happening to live in this house, I have 
been for a long time anxious to find out whether ' ; Painless Dentistry " 
was a fact or a fiction. With this object in view, I concealed myself in 
that cupboard--need I say that Mr. Pimbuffle's groans have thoroughly 
satisfied me 1 

Peter- Well, it's pleasant to hear you're satisfied. It's more than I 
am. 

Eup. And now, having got over our mutual surprise — how are you, 
Mr. Castleton 1 {shakes hands with him) How d'ye do, Mr Pimbuffle? 
(shakes hands with him) Not a word of this to papa, you know ; we'll keep 
the secret between ourselves. 

Enter Philip, breathlessly. 

Phil, {looking amazed*. Hilloa, Jack ! you've got a room full of com- 
pany, I see. 

Eup. How do you do, Mr Puller 1 I'm afraid you'll think we've taker, 
possession of your premises, {aside to him, rapidly) It's all right; don't 
ask any questions. 

Peter. Look here ! Will somebody tell me which is Mr. Pup-pup- 
Puller? 

Phil. I am, sir, quite at your service. 

Peter {to Jack), Then who the — hum — I mean who are you, sir. and 
what business had you to pup-pup-pup-pull out my wrong tooth ? 
(crosses to R.) 

Jack. Your fluent manner of asking questions, though very charm- 
ing to listen to, is slightly difficult to follow. It is not at all necessary 
for you to know who I am — I pulled out your tooth because I was left 
in charge of the practice ; and if it happened to be the wrong one 
(which is entirely clue to the absurd way in which you hallooed), at least 
you will remember that I did not charge you anything for pulling it 
out. (Philip, who has been whispering to Euphemia, turns to Peter.) 

Pjiil. And allow me to add, Mr. Pimbuffle, that I am perfectly ready 



HUNTING THE SLITTERS. 9 

to ease you of the right one for nothing, by means of my patented pain- 
less process. 

Peter. Pshaw ! your pup-pup-painless process is all humbug, sir. 
Miss Vander-pup-pup-pup-pump has taken the trouble to investigate it 
under circumstances of considerable trouble to herself, ( pointing to the 
cupboard) and she is pup-pup-pup-perfectly ready to ex-pup-pup-pose 
the whole thing. 

Eup. Well, really, Mr. Pimbuffle, your statement goes a little too far. 
You must remember I haven't yet seen the painless process. 

Petek. Why, just now you saw or heard me pup-practised on— didn't 
you ? 

Eup. Oh ! then it was painless after all, was it 1 But, my dear Mr. 
Pimbuffle, what a dreadful noise you made for nothing ! {they all laugh 
heartily at Peter.) 

Vanderpump puts his head in at door. 

Vand. Sounds of merriment ! I might almost say of uproarious mirth 
— Mr. Puller must be my excuse for intruding, (he comes in) Dear me, 
am I mistaken, or is it my daughter that I see before me "? Eh ! my 
eyes are capital to-day. Why, surely you are Jack Castleton 7 and as I 
live, here's that Pup-pup-pup-Pimbuffie ! 

Eup. Isn't it funny, papal And we've all come in accidentally, as 
one may say. 

Vand. {dryly). Indeed! I was going to ask, my dear, to what fortui- 
tous circumstance I was to attribute your presence amongst the distin- 
guished company assembled ! {crosses to l., up stage.) 

Peter. I think I can ex-pup-pup-plain that. 

Phil, (taking Peter by the arm and swinging him round). Another 
time, sir, if you please. Mr. Vanderpump, a word, (leads him aside) At 
the risk of being considered precipitate, sir, allow me to declare to you 
at once that I love your daughter. This day, circumstances have occur- 
red which have placed me in a good pecuniary position, and I venture to 
appeal to your kindnsss and sympathy to obtain your consent to our 
union. 

Vand. Well, upon my word this is- sudden, Mr. Philip Puller. But 
what do you suppose the lady is likely to say to such an arrangement ? 

Phil. I venture to hope, sir, that it will not be quite unsatisfactory 
to her. 

Vand. Ah, well ! dear me, dear me ! I must go and get my slippers 
— these boots are painfully tight — I'll be back directly, and we'll speak 
of this again, (goes towards door ; just as he is going out, Jack rushes after 
him, catches him by the arm and brings him to footlights again.) 

Jack. Mr. Vanderpump, I've just come to town with one object, and 
that is to know when you are going to give me Phemy — I've got a big 
practice down at Oxford. I want a wife, and I won't wait any longer. 

Vand. My dear Jack, you always were impetuosity itself — but sup- 
posing I had no objection, how about Phemy 1 

Jack. I don't anticipate for a moment that Phemy will make any ob- 
jection. 

Vand. Well, my boy, I — oh ! confound these boots, I must go and get 
my slippers. Excuse me for a minute. We'll talk this matter over 
when I come back, (goes towards door, when Peter stops and brings him 
again to footlights ) 

Peter. Mr. Vander-pup-pup-pump, 1 must ask for a word w'th you. 

Vand. All right, Pimbuffle, only make haste ; that's a good fellow. 

Peter. I love Eup-pup-pup-phemia, and I'm sure you know it. If 



10 HUNTIXG THE SL1PPEKS. 

she is to be ex-pup-pup-posed to the frivolities of these two de-pup- 
pup-pup-praved young men, the sooner she becomes an honest man's 
wife, the better. 

Vand. Same honest man being you, Pimbuffle, eh 1 But though 
you're so sure yourself, can you be as certain of Phemy '! 

Peter. Pup-pup-positive — she adores me ! 

Vand. My dear Pim— oh, these boots! It's no use, I must get my 
slippers — we'll resume this conversation presently — wait for me here. 
{goes to door, turns and looks at his daughter with the gentlemen round her, 
and speaks to himself ) Some men have to whistle for husbands. for their 
daughters, whilst J — ha! ha! it's raining sons-in-law for me. I've the 
Three Graces in broadcloth to choose from— oh, these boots ! I must get 
my slippers. [Exit. 

Eup. Now, just understand this, I won't listen to anything more. All 
three of you keep saying things you don't mean a bit, and — Why, good 
gracious ! papa's gone — I must go after him at once. 

Phil No, please don't go ; he's coming back. 

Jack. Oh, yes, he's coming back ; he told me so, Phemy. 

Peter. Decidedly ! he's coming back, Eup-pup-pup-phemia; he has 
to speak to me on im-pup-pup-pup-portant business pup-pup-pup-pres- 
ently — told me to wait here, in fact. 

Eup. Well, if you all say so, I suppose I had better stay. 

Phil. Certainly ! See, here he comes ! 

Unler Vanderpump, rolling his eyes about and gasping ; he throws himself 
into the operating chair. 

{aside) The venerable one has either seen a ghost, or he's going to in- 
dulge in spasms. 

Vand. {making horrible grimaces). I was boasting that my eyes were 
capital to-day — it was wrong of me. Euphemia, dear, just run and 
fetch me my slippers ; I've looked everywhere for them, but I'm so 
near-sighted I couldn't find them. 

Eup. What, those wretched old slippers of yours, papa 1 

Vand. Yes, my dear, those wretched old slippers. 

Eup. Ha, ha! why, no, papa! you weren't likely to find them. Now, 
didn*t you see the lovely new pair I've worked for you, put already by 
your dressing-table ] 

, Vand. Yes, yes — but the old ones, the old ones — what has become 
of the old ones 1 

Eup. Well, I knew you'd never give them up if I left them in your 
room, so I gave them to old Mrs Puncher, the charwoman. 

Vand. {rolling in agony). 1 guessed it. I had a presentiment when I 
couldn't find them that the worst had happened. We're ruined ! In 
my old age I am a beggar ! My child's a beggar ! The savings of a 
life gone at one fell swoop ! {groans frightfully.) 

Jack {aside to Philip). Well, hang me, if I can understand it. How 
can he be ruined because his old slippers are gone 1 

Phil, {aside to Jack). Hush, there's more in this than meets the eye. 

Vand. Gone, all gone ! Two notes for a thousand pounds in each 
slipper, between the lining and the sole, {to Euphemia) There, get out 
of my sight, you careless creature. Ah ! now I feel how sharper than 
a Terpent's Sooth it is to have a what do you call'iim child. 

Eup Oh, papa ! don't talk in that way. You can't know what you 
ar<- saying. 

Vand. Too well ! too well ! Take the girl away to her aunt, some 
one ! 



HUNTING THE SLIPPERS. II 

Phil, [aside to Jack). That wouldn't be gallant, would it ? [aloud) Do 
you really mean, iu sober earnest, Mr. Yanderpump, that you have lost 
£4.000 1 

Vand. Yes, yes ; I do ! 

Phil. Stowed away in your old slippers ? 

Vand. [rolling himself about). Just so! 

Phil. By Jove ! then we must have a big hunt. Phemy, where does 
this same Mother Punch or Bunch live ] 

Eup. Oh, Phil, what have I done 1 and so innocently, too. We shall 
never see them again — she told me they were not worth three-pence, 
and she'd sell them in Monmouth street. 

Phil. But where does she live 1 

Eup. Oh, I don't know — I don't know ! 

Phil, (taking up his hat). Never mind — cheer up — we must try Mon- 
mouth street, then. Now, what were they like 1 

Eup. Let me see. They had been red, only they would have been 
white with age, if they hadn't been black with dirt. 

Phil. That's a trifle complicated — but I think I can see my way. 

Vand Stop ! I've an idea ! I'll stimulate the search — I'll offer a re- 
ward. Each of you three young gentlemen is anxious to marry my 
daughter. Now, the man that 

£up. Oh, papa, don't ! 

Vand. Hold your tongue ! The man that restores me the money 
shall have my daughter's hand — [aside) but not the notes. 

Phil. A bargain ! Agreed for one ! 

Jack. All right! Agreed for two ! 

Peter. Fair pup-pup-pup-play, you know, and then I say, agreed 
for tin ee ! 

Jack {picking up his h at, whilst Peter takes ap his). We'll all start 
together, (aside). Black and white, turned up with red. 

Peter {to himself). I think I know the pup-pup -pup-pattern ! 

Phil, (to Euphemia). Keep your spirits up, Phemy. If they are to 
be found I'll have them, you may depend, and then 

Jack ( pushing Philip away). No whispering, Master Phil. (Philip 
rushes out) Don't you fret, Euphemia — I'm safe to bring them back. I 
remember them quite well, and the others don't. 

Pktfr (pushing J ack away). No mean advantages, sir ! (Jack rushes 
out) Eup-pup-pup-pup-phemia, your pup-pup-pup-peace of mind de- 
pup-pup-pup-pends on my finding these slippers, 1 know. Consider it 
done, therefore. I'll spare no expup-pup-pup-pense ! [Exit. 

Eup. Oh, papa, dear ! how could you think of keeping your money 
in such a place ] You never told me, and I should never have dreamt 
of such a thing. I thought to prepare a pleasant little surprise for you 
when I worked the new pair. Pray forgive me. (begins to cry.) 

Vand. Well, well, my dear, don't cry — perhaps I was a little unrea- 
sonable at first. Oh! but only think of four thousand pounds gone in 
a jiffy— the saving of years. Why on earth did you want to meddle 
with my slippers ? 

Eup. You see, papa, they looked so very disreputable. 

Vand. Well, my child, perhaps so ; but here's a proof that you must 
not value anything in this world by its looks alone, if tlrese fellows 
fail, where am I ? Think of that — oh, dear— oh, dear — think of that ! 

Eup. And if either of them should succeed, you will have recovered your 
money, and lost your daughter. 

Vand. I shrewdly suspect I should have lost her, as you call it, in 
any case. Only now, Phemy, my gain won't be your loss. For my 
part, I doubly hope that one of them will prove successful ; for if I had 



12 HUNTING THE SLIPPERS. 

to be the Paris to bestow the apple — (of my eye)— that is to s\v, my 
my daughter on one of the three— their claims are all so equally bal- 
anced — I'm hanged if I know which 1 should choose. 

Eup. I do, papa. 

Vand. Well, don't tell me, because if the wrong one finds the missing 
treasure it might be awkward. 

Eup. What a time they seem to be gone ! It isn't any distance from 
here to Monmouth street, and every minute seems an hour ! 

Vand. We must be patient, my dear. Ha! here comes some one. 

Enter Philip, carrying several pairs of slippers. 

Phil, {putting them down in a heap, and excitedly handing up a pair on 
his knees). Now, then, Mr. Vanderpump, look at these. Are they any 
good ? 

Vand. {examining them). No, no ! not the least. Go on with the rest, 
make haste, my good fellow ! (Philip hands up slippers, a pair at a time, 
and Vanderpump continues to say, "No; wont do — nothing like them," 
till the whole lot has been examined) Is that all you've got ? 

Phil I bought up every pair that I could find that looked likely. 

Vand. Then fate is against us. Once more I sink into the abyss of 
despair ! 

Enter Jack, with armful of slippers. 

Stay ! here's Jack ! perhaps he has been more fortunate ! 

Jack {depositing his load on the ground, xohile Philip kicks his into the 
background). I hope so, Mr. Vanderpump. I was always noted for fall- 
ing on my feet. ' : Lucky Jack " they called me at school How about 
this lot, now '? {hands up a pair.) 

Vand. No, Jack ; that's not them ! 

Jack. Well, try these — I've a large assortment, (hands up another pair 
— Vanderpump shakes his head, and continues to say, " No use — no use !" 
until Jack exhausts his stock.) 

Vand. Two failures ! We have now only Pimbuffle to fall back upon. 
{great noise, as of dropping things.) 

Peter presently enters, staggering under an armful of boots. 

Vand. Good gracious ! My dear Pimbuffle, you must have misunder- 
stood the whole thing. I haven't lost m}' old boots ! but a pair of old 
slippers. 

Peter. Very true ; but I ex-pup-pup-pup-pect these gentlemen had 
pup-pup-preceded me, and as there wasn't a single pair of old slippers 
left, I pup-pup-purchased all the boots I could find, to make everything 
pup-pup-perfectly safe. 

Vand. {groaning, and rolling about in chair). It's useless ! useless ! use- 
less ! I'm ruined — undone ! Here, you two doctors, give me some- 
thing that will put me out of the way quietly, will you ? I shall go 
mad ! mad ! mad ! What's the use of standing there looking at me ? 
Do something, confound you— do something, I say ! {continues to roll 
about in chair.) 

Phil, {aside, to Jack). I tell you what it is, Jack, I've a great mind 
to administer a dose of the gas to him. It would calm him down, and 
make him forget his loss for a time. What do you say ? 

Jack {aside, to Philip). The very thing — have you got any handy ] 
(Philip goes to cupboard, and brings out gas.) 

Phil. Here you are — here you are. Here's the secret of ''Painless 



HUNTING THE SLIPPERS. 1 3 

Dentistry !" (to Vanderpump) Now, sir, lay back in the chair, and we'll 
put you in the land of dreams in no time. 

Eup. (to Philip). What are you going to do? Pray, be careful, Phil. 

Phil. You trust me, Phemy, it won't hurt him a bit. Do him good, 
in fact, (goes to chair, followed by Jack.) 

Peter. I say, I pup-pup-pup-protest against these murderous pnp- 
pup-pup-proceedings. 

Jack. Here, come and lend a hand, can't you, instead of pup-pup- 
pup-protesting? [he puts a hand on Vanderpump' s wrist Peter holds 
bag, and Philip is supposed to adminster gas.) 

Phil, (talcing away bag from Vanderpump's/^, after a second or two). 
That will do, now — we shall see how it affects him! (Vanderpump be- 
gins to move his feet quickly) Ha ! he's going to kick. Quick, you two, 
off with his boots! (Jack and Peter each take a foot and pull off a boot ; 
as they do so, notes flutter out of each. Euphemia picks them up excitedly.) 

Eup. Look here ! what are these 1 

Phil, (examining them). Notes, by George ! Four thousand pound 
notes ! Why, unless the governor's made of money, and dresses in 
''promises to pay" of tlu Bank of England — these are the very iden- 
tical notes ! 

Vand. (suddenly rousing himself). Eh? notes'? Who spoke of notes 1 

Phil. Look here, Mr. Vanderpump, if you are sufficiently collected 
to give us the information, just say if these are the notes you were sup- 
posed to have lost 1 (Philip hands the notes to him.) 

Vand. {examining them). Of course they are ! Where did they come 
from 1 Who found them 1 

Eup. They came out of your boots, papa dear. 

Vand. (looking at his feet). Oh, my boots! (reflects) Of course they 
did. Ha ! ha ! I remember now. I put them there. I took them out 
of the slippers this very morning, but I am so absent. 

Phil. Hooray ! then they are not lost at all ! 

Vand. Of course they're not! 

Jack. Then my course is clear, having recovered at least two of these 
notes. Mr. Vanderpump, in the process of removing your left boot, I 
demand the fulfillment of your promise — that is to say. the hand of your 
daughter. 

Peter (excitedly). I appeal to your sense of justice, Mr. Vander-pup- 
pup-pump. I have a superior right, for I recovered two of them by re- 
moving your right boot. 

Vand. Yes ; there's something in that plea, Pimbufne. 

Phil. Stay, gentlemen ! I think my claim is stronger than both yours. 
I not only suggested the administration of the gas, but I also directed 
the removal of the boots, without which you neither of you would have 
found anything. I therefore claim Miss Yanderpump'shand as my own. 

Jack. I object to that argument in totol 

Peter. I pup-pup-positively object to it in every "toe-toe!" 

Vand. This is a difficult case — we must take time to decide. 

All Three. No — settle the matter at once — let's have no delay. 

Vand. Very good ! My word being placed that a reward should be 
given, I shall refer the matter to my daughter for decision, (aside) I've 
got my money back, and she shall have just which she likes, (crosses 
to L.) 

Phil. I am quite content to leave it so. 

Jack. So am 1. 

Peter. I am pup-pup-pup-perfectly satisfied, (aside). I'm quite safe 
now. 

Vand. Then, Euphemia, my love, if you're not too much dazzled by 



14 HUNTING THE SLIPPERS. 

this blaze of masculine beauty, just make one of these fellows misera- 
ble — no, I mean happy — and send the other two about their business. 

Eup. Well, papa, I think I * 

All Three. Yes! yes ! 

Eup. I think I owe such a debt of gratitude to Mr. Puller, for the 
kind way in which he endeavored to alleviate your sufferings, that I 

Phil. Thank you, my dear Phemy. (Jack and Petek Jail into each 
other's arms in mock anguish) I always had great faith in " Laughing 
Gas," for the purpose of " Painless Dentistry !" but until this evening I 
never knew it was powerful enough to procure a man a wife, and ex- 
tract bank-notes out of old boots. 

Euphemia. 

Peter. Philip. 

Jack. Vanderpump. 

CURTAIN. 




"Sweetest Shake^pere, Nature's child , 

Warbles his native wood-notes wild."— Milton. 

Please notice that nearly all the Comedies, Farces and 
Comediettas in the following List of "De Witt's Acting Plays " 
are very suitable for representation in small Amateur Theatres 
and on Parlor Stages, as they need but little extrinsic aid from 
complicated scenery or expensive costumes. They have attained 
their deserved popularity by their droll situations, excellent 
plots, great humor and brilliant dialogues, no less than by the 

fact that they are the most perfect in every respect of any edi- 
tion of Plays ever published either in the United States or 
Europe, whether as regards purity of the text, accuracy and 

fulness of stage directions and scenery, or elegance of typo- 
graphy and clearness of printing. 

*£* In ordering, please copy the figures at the commencement of each 
piece, which indicate the number of the piece in "De Witt's List op 
Acting Plays." w 

dl^p" Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents./ 

Address, ' ROBERT. M. DE WITT, 

JVo. .9.? Hone Street, JVen> York. 



IDS WITT'S .ACTING :FX-iL"rS- 

No. 

1 CASTE. An original Comedy in three acts, by T. W. 

Robertson, A lively and effective satire upon the times, played successfully in 
America, at Wallace's. Five male and three female characters. Costumes, 
modern-. Scenery, the first and third acts, interior of a neat room ; the second 
a fashionable room. Time in representation, two hours and forty minutes. 

2 NOBODY'S CHILD. A romantic Drama in three acts, by 

Watts Phillips. Eighteen male and three female characters. A domestic 
drama, wonderfully successful in London, as it abounds in stirring scenes 
and capital situations. Costumes modern, suited to rural life in Wales. 
Scenery is wild and picturesque. Time in representation, two hours and a 
quarter. 

3 £100.000* An orip-inal Cometly in three acts, "by Henry J. 

Byron. Ei^ht male and four female characters. A most effective piece, 
played with applause at Wallack's. Costumes of the day. Two scenes are 
required— a comfortably furnished parlor and an elegant apartment. Time 
in representation, one hour and three quarters. 



DE WITT'S ACTING PLAYS. 



No. 

4 DANDELION'S DODGES. A Farce in one act, by Thomas 

.7. Williams. Four male and two female characters. A rattling piece. The 
part of Dandelion excellent for a low comedian. Costumes of the day. Sce- 
nery, a picturesque landscape. Time in representation, fifty minutes. 

5 WILLIAM TELL WITH A VENGEANCE; or, the Pet, 

the Patriot and the Pippin. A grand new Burlesque by Henry J. Byron. 
Eight male and two female characters. Replete with telling allusions. Cos- 
tumes of the period of the middle ages, grotesquely exaggerated. Five 
scenes in Switzerland. Time in representation, one hour. 

6 SIX MONTHS AGO. A Comedietta in one act, by Felix 

Dale. Two male and one female characters. A really effective little piece, 
suited to amateurs. Costumes of the day. Scene, morning room in a country 
house. Easily produced. Time in representation, forty minutes. 

7 MAUD'S PERIL. A Drama in four acts, by Watts 

Phillips. Five male and three female characters. Strong and sensational. 
Costume of English country life of the period. Scenery not elaborate. Time 
in representation, two hours and a half. 

8 HENRY DUNBAR ; or, a Daughter's Trials. A Drama 

in four acts, by Tom Taylor. Ten male and three female characters. One 
of the best acting plays of the day. Costumes of the period. Scenery 
modern English. Time in representation, three hours. 

9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. 

A farcical interlude in one act, by Charles Selby. Four male aud one 
female characters. A very laughable piece, easily produced ; certain to bring 
down the house. Costumes of the day. Scene, a genteelly furnished bed- 
room. Time in representation, forty minutes. 

10 THE SNAPPING TURTLES? or, Matrimonial Masque- 

rading. A duologue in one act, by John B. Buckstone. One male aim one 
female character, who assume a second each. A very ludicrous farce ; has 
been eminently successful. Costumes of the day. Scene, a drawing room. 
Time in representation, one hour. 

11 WOODCOCK'S LITTLE GAME. A Comedy Farce in 

two acts, by J. Maddison Morton. Four male and four female characters. 
A sparkling, lively composition, by one of the most humorous dramatic 
authors. The part of Woodcock has been performed by Charles Mathews 
and Lester Wallack. Costumes of the period. Scenery, modern apartments, 
handsomely furnished. Time in representation, one hour. 

12 A WIDOW HUNT. A.n original Comedy in three acts, 

by J. Sterling Coyne. Four male and four female characters. An inge- 
nious and well known alteration of the same author's ''Everybody's Friend," 
the part of Major Wellington de Boots having been rendered popular by Mr. 
J. S. Clarke in England and America. Costumes and scenery of the 
period. Time in representation, two hours and a half. 

13 RUY BLAS. A romantic Drama in four acts, from the 

French of Victor Hugo. Twelve male and four female characters. This 
piece Avas eminently successful in London when produced by Mr. Fechter. 
It contains numerous scenes, capable of being performed unconnected with 
the drama, by amateurs. Spanish costumes of 1692. Scenery, halls and apart- 
ments in the royal palace at Madrid. Time in representation, three hours 
and a half. 

14 NO THOROUGHFARE. A Drama in five acts, with a 

prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six 
female characters. Very successiul as produced by Fechter in England and 
by Florence in America. Costumes modern but often changed." Scenery 
complicated; English exteriors, Swiss interiors and Alpine passes. Time 
in representation, three hours and forty minutes. 

13, MILKY WHITE. A domestic Drama m two acts by H. 

T. Craven. Four male and two female characters. A good acting, pathetic 
piece. Costumes English, of the present day. Scenery, an exterior and in- 
terior. Time in representation, one hour and a half. 



DE WITT'S ACTING PLAYS. 



No. 

16 DEARER THAN LIFE. A serio-comic Drama in three 

nets, by Henry J. Byron. Six male and five female characters. An effective 
piece, which could be readily performed by amateurs with success. Cos- 
tumes. English of the day. Scenery, two interiors, easily arranged. Time in 
representation, two Lours. 

17 KIND TO A FAULT. An original Comedy in two acts, 

by William Brottgh. Six male and four female characters. A well written 
composition with well drawn characters. Costumes of th<- present day. 
Scenery, two elegantly furnished interiors. Time in representation, one 
hour and twenty minutes. 

18 IF I HAD A THOUSAND A YEAR. A Faroe in one 

act, by John Maddison Morton. Pour male and three female charac- 
ters. . A sp'endid social sketch—the part of Green being excel cnt for a good 
light comedian. Costumes of the present, day: and scenery, a neatly fur- 
nished interior. Time in representation, one hour and fifteen minutes. 

19 HE'S A LUNATIC. A Farce in one act, by Felix Dale. 

Three male and two female characters. A Sprightly, laughter-provoking 
production. Modern dr. sses ; and scene, a drawing room. Tine in repre- 
sentation, forty minutes. 

20 DADDY GRAY, A cer to-comic Drama in threo acts, 

by Andrew Hahiday. Eight male and four female characters. One of the 
author's most effective and natural compositions. Dresses of the present day. 
Scenery, interior of a cottage, a lawyer's office, street and archway, and 
cottage with landscape. Time in representation, two hours. 

21 DREAMS ; or, My Lady Clara. A Drama in five acts, "by 

T. W. Robertson. Six male and three female characters. Full of thrilling 
incidents, with several excellent parts for both male and female. Was suc- 
cessfully brought out. at the Boston Museum and New York Fifth Avenue 
Theatre'. Costumes, modern German and English. Scenery, interiors and 
gardens, rather complicated, but effective, 

22 DAVID GARRICK. A Comedy in three acts, hy T. W. 

Robertson. Eight male and three female characters. Most effectively per- 
formed by Mr. Sothern in England and m America with decided success. Cos- 
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in 
representation, one hour and three quarters. 

23 THE PETTICOAT PARLIAMENT. An Extravaganza 

in one act, by Mark Lemon. Fifteen male and twenty-four female charac- 
ters. A revision of the " House of Ladies. 1 " Performed with &reat success 
at Mitchell's Olympic in New York. The costumes are extremely fanciful 
and exasperated. Scenery, modern English. Time in representation, one 
hour and five minutes. 

24 CABMAN No. 93; or, Found in a Four 'Wheeler. A 

Farce in one act, by Thomas J. Williams. Two male and two female char- 
acters. A ludicrous piece, with a cabman for the first low comedian, and a 
stock broker as eccentric character part. Costumes of present day. Scene, 
a furnished room. Time in representation, forty minutes. 

25 THE BROKEN HEARTED CLUB. A Comedietta, by 

J. Sterling Coyne. Four male and eight female characters. A laughable 
satire on the Women'.- Rights movement. Costumes modern English. 
Scenery, a drawing room. Time in representation, thirty minutes. 

26 SOCIETY. A Comedy in three acts, by T. Wo Robert- 

son. Sixteen male and five female characters. A play exceedingly popular, 
intended to exhibit the foibles of British Society and to ridicule the election 
system. Costumes of the present day. Scenery elaborate. Time in repre- 
sentation, two hours and a half. 

27 TIME AND TSBE. A Drama in three acts and a pro- 

logue, by Henry Leslie. Seven male and five female characters. An effec- 
tive piece, with novel and striking incidents. Costumes English, present 
day. Scenery, London marine scenery. Time in representation, two hours. 



DE WITT'S ACTING PLAYS. 



No. 

28 A HAPPY PAIR. A Comedietta in on© act, by S. 

Tlieyre Smith. One male and one female character. A neat dramatic 
sketch of a conjugal misunderstanding. Modern dresses. Scene, a drawing 
room. Time in representation, twenty minutes. 

29 TURNING THE TABLES, A Farce in one act, by John 

Poole. Five male and three female characters. One of the happiest efforts 
of the famous author of "Paul Pry. 1 ' The part of Jeremiah Bumps is re- 
dolent with quaint humor. A standard acting piece. Dresses and scenery 
of the present day. Time in representation, sixty-live minutes. 

30 THE GOOSE 'WITH THE G3LBSN E3G3. A Fare© 

in one act, by Augustus Mayhew and Sutherland Edwards. Five male and 
three female characters. Gay, rollicking, full of incessant action, having 
three of the most comical characters imaginable. Costumes of the present 
period. Scene, a lawyer's office. Time in representation, forty-five minutes. 

31 TAMING A TIGER. A Farce in one ac*, altered from 

the French. Three male characters. In this a dashing light comedian and 
fiery, petulant' old man cannot fail to extort applause. Modern dresses : and 
scene, a modern apartment. Time in representation, twenty five minutes. 

32 THE LITTLE REBEL, A Farce in one act, by J. Ster- 

ling Coyne. Four male and three female characters. An excellent piece 
for a sprightly young actress. Dresses and scenery of the present day. Easy 
of production. Time in representation, about forty-five minutes. 

33 ONE TOO MANY FOR HIM. A Farce in one act, by 

Thomas J. Willluiis. Two male and three female characters. Adapted 
from a popular French vaudeville. Costume of the time. Scene, parlor 
in country house. Time of representation, fifty minutes. 

34 LARKIN'S LOVE LETTERS. A Farce in one act, by 

Thomas J. Williams. Three male and two female characters. The piece 
has excellent parts for first low comedy — first old man and a soubrette. 
Dresses of the day. Scene, a parlor. Time in representation, forty minutes. 

35 A SILENT "WOMAN. A Farce in one act, by Thomas 

Hailes Lacy. Two male and one female characters. One of the prettiest 
little pieces on the English stage. Dresses of the period. Scene, a drawing 
room. Time in representation, thirty-five minutes. 

36 BLACK SHEEP, a Drama in threa acts, from Edmund 

Yates 1 novel of the same name, and arranged for the stage by J. Palgrave 
Simpson and the author. Seven male and live female characters. Costumes 
of the present time. Scenery, an interior ; gardens at Homburg, and a 
handsome parlor. Time in playing, two and a half hours. 

37 A SILENT PROTECTOR. A Farce in one act by Thom- 

as J. Williams. Three male and two female characters. An active, bust- 
ling piece of ingenuity, which affords abundant opportunities for the display 
of Quickfidget's eccentricities. Costumes of the period. Scene, a drawing 
room: Time in representation,, forty minutes. 

38 THE RIGHTFUL HEIR. A Drama in five acts, by Lord 

Lytton (Sir Edward Lytton Bulwer). Ten male and two female characters. 
A revision and improvement of the author's play of the "Sea Captain," 
originally produced under management of Mr. Macready. Costumes of the 
English Elizabethan period, armor, doublets, tights, &c. Scenery pictu- 
resque and elaborate. The play contains numerous scenes and passages, 
which could be selected for declamation. Time in representation, two hours 
and forty-five minutes. 

39 MASTER JONES' BIRTHDAY. A Farce in one act, by 

John Maddison Morton. Four male and two female characters. A very 
amusing and effective composition, particularly suited to amateurs. Dresses 
of the day; and scene, a plain interior. Time of playing, thirty minutes. 

40 ATCHI. A Comedietta in one act, by John Maddison 

Morton. Three male and two female characters. A gem in pleasantry, 
whose conclusion is irresistibly comic. Costume of the day. Scene, a taste- 
fully laid out garden. Time in representation, forty minutes. 



DE WITT'S ACTING PLAYS. 



41 BEAUTIFU.L FOREVER. A Farce in 0110 ac?-, "by Fred- 

erick Hay. Two male and two female characters. A sprightly satirical re- 
buke to those that patronize advertised nostrums. < ostumes of the day. 
Scene, a handsome interior. Time in representation, forty minutes. 

42 TIMS AND THE HOUR. A Drama 'n three acts, "by 

J Palgrave Simpson and Felix Dale. Seven male and three female charac- 
ters. Au excellent acting play, full of life and incident, the parts of 
Medlicott and Marian Beck being capable of impressive representation- all 

others good. Costumes of the present period. Scenery, gardens and ex- 
terior, cottage and garden, and an old oaken chamber. Time in representa- 
tion, two hours and a half. 

43 SISTERLY SERVICE. An original Comedietta in one* 

act, by J. P. Wooler. Seven male and two female characters. An interns,-- 
ing piece. Costumes, rich dresses of the musketeers of Louis XIII. 
Scenes, an apartment of that period, and a corridor in the royal palace ol 
Franco. Time in representation, forty minutes. 

44 WAR TO THE KNIFE, a Comedy in tfcreo acts, "by 

Henry J. Bvron. Five male and four female characters. A pleasing, enter- 
taining and morally instructive lesson as to extravagant living; capitally 
adapted to the stage. Costumes of the present time. Scenes, three interiors. 
Time in representation, one hour and three quarters. 

45 OUR DOMESTICS. A Come;Iy Farce in two acts, "by 

Frederick Hay. Six male and six female characters. An irresistibly face- 
tious exposition of high life below stairs, and ot the way in which sen ants 
treat employers during their absence. Costumes of the day. Scenes. 
kitchen and dining room. Time in representation, one hour and a half. 

46 MIRIAM'S CRIME. A Drama in three acts, fey H. T. 

Craven. Five mal • and two female characters. One ot the best acting plays, 
and easily put on the stage. Costumes modern. Scenery, modern English 
interiors,' two in number/ Time in representation, two hours. 

47 EASY SHAVING. A Farce in one act, fey F. C. Hur- 

nand and M ntagu Williams. Five male and two female characters. A 
neat and effective piece, with excellent parts for low comedian and singing 
chambermaid. Costumes of the days of Charles II of England. Scene, a 
barber's shop. Time in representation, twenty-five minutes. 

48 LITTLE ANNIE'S BIRTHDAY. An original persona- 

tion Farce, by W. E. Suter. Two male and four female characters. A 
good farce,' whose effectiveness depends upon-a singing young lady, who 
could make the piece a sure success. Costumes modern. Scene, an apart- 
ment in an English country house. Time in representation, twenty-live 
minutes. 

49 THE MIDNIGHT "WATCH. A Drr «na in ene act, fey 

J. Maddisbn Morton. Eight male and two female characters. A successful 
little play. Costumes of the time of the French Revolution of 1V.J5. Scene, 
the platform of a fortress. Time in representation, one hour. 

50 THE PORTER'S KNOT. A se?io-crtnic Drama in two 

acts, by John Oxenford. Eight male and two female characters. Interest- 
ing and thoroughly dramatic. Costumes of the day. Scenes, au interior of 
cottage and exterior of seaside hotel. Time in representation, one hour and 
a quarter. ,. 

51 A MODEL OF A WIFE. A Farce in one act, fey Alfred 

Wigan Thrc male and two female characters. Most amusing in concep- 
tion and admirably carried out. Costumes of the day. Scene, a painter's 
studio. Time in representation, thirty-five minutes. 

52 A CUP OF TEA. A Comedietta in one act. Translated 

from the French of Une Tasse de The, by Charles Nuttier and J. Deiley. 
Three male and one female characters. Ar. exquisite petty comedy, well 

adapted for amateur representation. Costumes modern. Scene, handsome 
drawing room. Time in representation, thirty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

53 GERTRUDE'S MONEY BOX. A Farce in one act, by 

Harry Lemon. Four male and two female characters. A successful, well 
written piece ; an incident in rural life. Costumes of the present time. 
Scene, interior of a cottage. Time in representation, forty -five minutes. 

54 THE YOUNG COLLEGIAN (The Cantab). A Farce in 

one act, by T. W. Robertson. Three male and two female characters. A 
' rattling piece, filled with ludicrous situations, which could be splendidly 
workeS up by a good light comedian. Costumes modern ; and scene, a 
handsome interior. Time in representation, fifty minutes. 

55 CATHARINE HOWA13; or, the Throne, the Tomb 

and the Scaffold. An historical play in three acts [from the celebrated 
play of that name, by Alexander Dumas] ; adapted by W. H. Suter. Twelve 
male and five female characters. A most successful acting drama in both i 
France and England. Costumes of the period of Henry VIII of England, I 
artistic and rich. Scenery elaborate and historical. Time in representa- 
tion, two hours and a half. 

56 TWO GAY BECEIVERS ; or, Black, "White and Gray. 

A Farce in one act by T. W. Robertson. Three male characters. Adapted 
from the French of one of the most laughable vaudevilles on the Parisian 
stage. Costumes of present day. Scene, a cell in a police station. Time in 
representation, forty minutes. 

57 NOEMIE. A Drama in two acts, translated and adapt- 

ed from the French of Hennery and Clement by T. W. Robertson. Four 
male and four female characters. Originally acted in Paris, this piece created 
such a sensation that it was produced subsequently at all the leading theatres 
of London. Costumes modern. Scenery, a garden scene and a richly 
furnished interior. Time in representation, one hour and a half. Easily 
put on the stage. 

58 DEIORAH (LEAH)? or, ihe Jewish Maiden's Wrong. 

A Drama in three acts, by Charles Smith Cheltnam.. Seven male and six 
female characters. A strangely effective acting play. Costumes pictur- 
esque yet simple. Scenery elaborate and cumbersome to handle. Time in 
representation, two hours and fifteen minutes. Elegant extracts can b« 
taken from this drama. 

59 THE POST BOY. An original Draina in two act j, Tjy 

11. T. Craven. Five male and three female characters. Very successful. 
Costumes modern. Scenery, two interiors. Time of playing, an hour and 
a half. 

60 THE HIDDEN HAND; or, the Gray Lady of Perth 

Vennon. A Brama in four acts, by Tom Taylor. Five male and five female 
characters. Costumes of the period of James II of England. Scenery 
somewhat elaborate. Time in representation, !wj hours and a half. 

61 PLOT AND PASSION. A Drama in three acts [from 

the French], by Tom Taylor. Seven male and two female characters. A 
neat and well constructed, play, admirably adapted to amateur representation. 
Costumes of the period of the First Empire, rich and attractive. Scenes, an 
interior in a French mansion, and one in a country villa. Time in represen- 
tation, one hour and a half. 

62 A PHOTOGRAPHIC FIX. A Farce in one act, by 

Frederick Hay. Three male and two female characters. A brilliant, witty 
production. Costumes of the day. Scene, a photographic room. Time in 
representation, thirty-five minutes. 

63 MARRIAGE AT ANY PRICE. A Farce in one act, by 

J. P. Wooler. Five male and three female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a garden. 
Time in representation, thirty minutes. 

64 A HOUSEHOLD FAIRY. A domestic Sketch in one act, 

by Francis Talfourd. One male and one female character. A gem in its line; 
artistic, dramatic and very natural. Modern costumes, and scene a poorly 
furnished apartment. Time in playing, twenty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

65 CHECKMATE. A Comedy in two acts, by Andrew Hal- 

liday. Six mule unci live female characters. Costumes, English, of the pres- 
ent day. Scenes, interior of a country hotel, and exterior of same, with 
landscape. Time in representation, one hour and a half. 

66 THE ORANGE GIRL. A Drama in a prologue and 

three acts, hy Harry Leslie and Nicholas Rowe. Eighteen male and four 
female characters. Costumes of the present day; this piece requires con- 
siderable scenery, and some of an especial nature. Time in representation, 
two hours and a quarter 

67 THE BIRTHPLACE OF PODGERS. A Farce in one 

act, by John Ilollingshead. Seven male and three female characters. A 
capital acting extravaganza, introducing a number of eccentric personages. 
Costumes of the present time. Scene, a workinginaifs room. Time in repre- 
sentation, forty minutes. 

68 THE CHEVALIER DE ST. GEORGE. A Drama in 

three acts, adapted from the French of MM. Velesville and Roger de Beauvoir, 
by '1'. \V. Robertson. Nine male and three female characters. A very popu- 
lar and favorite play. Costumes, very rich, in velvet, court and hunting 
dresses, breeches, stockings, etc Scenery, a tavern and garden, an interior, 
style Louis Seize, and a plainer interior." Time in representation, one hour 
and a half. 

69 CAUGHT BY THE CUFF. A Farce in one act, by 

Frederick Hay. Four male and one female characters. An exquisitely 
ludicrous production, crammed with situations. Costumes of the day. 
Scene, a kitchen. Time in representation, forty minutes. 

70 THE BONNIE FISHWIFE. A Farce in one act, by 

Charles Selby, Comedian. Three male and one female characters. A very 
sprightly piece, in which the lady is required to sing, and to be capable of 
assuming the Scottish dialect. The costumes, although modern, involve 
eccentric Scottish and deer stalking dresses. Scenes, a handsome chamber 
and interior of Highland cottage. Time of playing, forty -five minutes. 

71 DOING FOR THE BEST. A domestic Drama in two 

acts, by M. Rophino Lacy. Five male and three female characters. An 
effective acting piece, popular in London. Costumes of the day. Two scenes, 
one interior of cottage, the other a drawing room. Time in representation, 
one hour and a half. 

72 A LAME EXCUSE. A Farce in one act, by Frederick 

Hay. Four male and two female characters. Costumes of the day. Scene, 
a handsome interior. Time in represention, thirty-five minutes. 

73 A GOLDEN FETTER (FETTERED), A Drama in three 

acts, by Watts Phillips. Eleven male and four female characters. Costumes 
of the present time. Scenery extensive and peculiar to the piece. Time in 
representation, one hour and a half. 

74 THE GARRICK FEVER. A Farce in one act, by J. R. 

Planche. Seven male and four female characters. Costumes of the year 
1742— court dresses, regimentals, velvet trains, »kc. Scenery, a plain interior. 
Time of representation, forty-five minutes. 

75 ADRIENNE ; or, the Secret of a Life. Drama in three 

acts, by Harry Leslie. Seven male and three female characters. A telling 
romantic drama. Italian and French costumes, civil and military. Scenery, 
elaborate interiors and landscapes. Time in representation, one hour and 
forty-five minutes. 

76 THE CHOPS OF THE CHANNEL, An original Nauti- 

cal Farce in one act, by Frederick Hay. Three male and two female 
characters. A very mirth exciting and whimsical composition. Costumes 
of the present day. Scene, the saloon of a steamer. Time in representation, 
forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

77 THE ROLL OF THE BRUM. A romantic Drama in 

three acts, by Thomas Egerton Wilks. Eight male and four female charac- 
ters. A standard piece with the British theatres. Costumes of the period of 
the first French revolution. Scenery, interior of a farm house, a picturesque 
landscape and a drawing room. Time in representation, one hour and forty- 
five minutes. 

78 SPECIAL PERFORMANCES. A Farce in one act, by 

Wilmot Harrison. Seven male and three lemale characters. A most ludi- 
crous, ingenious and sprightly production. Dresses of the present day. 
Scene, a chamber. Time in performance, forty minutes. 

79 A SHEEP IN 'WOLF'S CLOTHING. A domestic Drama 

in oue act, freely adapted from Madame de Girardin's " Uti-e Femrae qui 
deteste Son Mari," by Tom Taylor. Seven male and five female characters. 
A neat and pleasing domestic play, founded upon incidents following Mon- 
mouth's rebellion. Costumes of the time of James II of England. Scene, a 
tapestried chamber. Time of playing, one hour. 

SO A CHARMING PAIR. A Farce in one act, by Thomas 

J. Williams. Four male and three female characters. Costumes of the pre- 
sent day. Scene, a handsomely furnished apartment. Time in representa- 
tion, forty minutes. 

81 VANDYKE BROWN. A Farce in one act, hy Adolphns 

Charles Troughton. Three male and three female characters. Popular 
wherever performed. Costumes of the present day. Scene, a chamber, 
backed by a window. Time of representation, one hour. 

82 PEEP 0' DAY; or, Savonrneen Dheelish. An Irish. 

romantic Drama in four acts (derived from " Tales of the O'llara Family"), 
by Edmund Falconer. The New " Drury Lane " version. Twelve male and 
four female characters. Costumes, Irish, in the year ITWS. Scenery, illustra- 
tive of Minister. Time in representation, three hours. 

83 THRICE MARRIED. A personation piece in one act, 

by Howard Paul. Six male and one female characters. The lady sings, 
dances and assumes personification of a French vocalist, of a Spanish dancer 
and of a man of fashion. Costumes of the day. Scene, a toodi in a lodging 
house. Time in representation, three quarters of an hour. 

81 IT GUILTY. A Drama in four acts, "by 'Watts Phillips, 
en male and six female characters. A thrilling drama faund upon a fact. 
Costumes of the present day. Scenery illustrative ol localities about 
Southampton and its harbor, and of others in India. Time in representa- 
tion, three hours. 

85 LOCKED IN WITH A LABY. A Sketch from Life, 

by II. It. Addison. One male and one female character. A very pleas- 
ing and humorous interlude. Costume of the day, and scene a bachelor's 
apartment. Time in representation, thirty-live minutes. 

86 THE LABY OF LYONS; or, Love and Pride. A Play in 

five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Twelve male five 
female characters. Four of the male characters are very good ones ; and 
Pauline, Madame De-ch:ipel!es and the Widow Melnotte are each excellent 
in their line. The piece abounds in eloquent declamation and sparkling 
dialogue. This edition is the most complete in all respects ever issued. It 
occupies three hours in representation. The scenery, gardens and interior 
of cottage and mansion. Costumes French, of 1795. 

87 LOCKED OUT. A Comilc Scene, Illustrative of what may 

occur after dark in a great metropolis ; by Howard Paul. One male and two 
female characters, with others unimportant. Scene, a street ; dress, mod- 
ern. Time in playing, thirty minutes. 

88 FOUNDED ON FACTS. A Farce in one act, "by J. P. 

Wooler. Four male and two female characters. A favorite acting piece. 
easily put on the stage and never failing in success. Costumes of the pres- 
ent day. Scene, a hotel parlor. Time in representation, thirty-five minutes. 



No. 

89 AUNT CHARLOTTES MAID. A Farce in one act, Ty 

J. Maddison Morton, Three male and three female characters. One of the 
best of this prolific humorist's dramatic pieces. Dresses of the period, and 
scene an apartment in a dwelling house. Time in representation, forty 
minutes. 

90 ONLY A HALFPENNY. A Farce in one act, by John 

Oxenford. Two male and two female characters. Urosses of the present 
day, and scene an elegantly furnished interior. Time in representation, 
thirty-live minutes. 

91 WALPOLE ; or. Every Man lias his Price. A Comedy in 

rhyme, by Lord Lytton. Seven male and two female characters. Costumes 
of the period of George I of England. Scenery illustrative of London locali- 
ties, and residences of the same era. Time of playing, one hour and ten 
minutes. 

92 MY WIFE'S OUT. A Farce in one act, by G. Herbert 

liodwell. Two male and two female characters. This piece had a suc- 
cessful run at the Oovent Garden Theatre, London. Costume modern, and 
scene an artist's studio. Time in representation, forty minutes. 

93 THE AREA BELLE. A Farce in one act, by 'William 

Brough and Andrew Halliday. Three male and two female characters. 
Costumes of the present time, and scene a kitchen. Time in performing, 
thirty minutes. 

94 OUR CLERKS ; or, No. 3, Fig Tree Court, Temple. An 

original Farce, in one act. Seven male and live female characters. Costumes 
modern, and scene a large sitting room solidly furnished. Time in represen- 
tation, sixty-five minutes. 

95 THE PRETTY HORSE BREAKER. A Farce, by -Wil- 

liam Brough and Andrew Halliday. Three male and ten female characters. 
Costumes modern English, and scene a breakfast room in a fashionble man- 
sion. Time of playing, forty-five minutes. 

96 DEAREST MAMMA. A Comedietta in one act, by Wal- 

ter Gordon. Four male and three female characters. Costume modern 
English, and scene a drawing room. Time in representation, one hour. 

97 ORANGE BLOSSOMS. A Comedietta in one act, by J. 

P. Wooler. Three male and three female characters. Costume of the 
present day, and scene, a garden with summer house. Time in playing, 
hfty minutes. 

98 WHO IS WHO ? or, All in a Fog. A Farce, adapted 

from the French, bv Thomas J. Williams. Three male and two female char- 
acters. Costumes, modern English dresses, as worn by country gentry ; and 
scene, parlor, in an old fashioned country house. Time of playing, thirty 
minutes. 

99 THE FIFTH WHEEL, A Comedy i:a three acts. Ten 

male and two female characters. An excellent American production, ea^ily 
managed. Costumes of the modern day. Scenery not complicated. Time 
of representation, about one hour and three quarters. 

100 JACK LONG. A Di-ama in two acts, by J. Bo John- 

stone. Nine male and two female characters. Costume of the frontiers. 
Scenery illustrative of localities on the Texan frontier. Time of perform- 
ance, one hour and twenty minutes. 

101 FERNANDE; or. Forgive and For^e-. A Drama in three 

acts, by Victorien Sardou. "Eleven male and ten female characters. This 
is a correct version of the celebrated play as performed in Paris and adapt- 
ed to the English stage, by Henry L. Williams. Jr. Costumes, modern 
French. Scenery, four interiors. Time In representation, three hours. 

102 FOILED; or, a Struggle for Life and Liber y. A Drama 

in four acts, by O. W. Cornish. 9 males, 3 females. Costumes, modern 
American. Scenery— a variety of scenes required, but none elaborate. 
Time in representation, three and a half hours. 



DE WITT'S ACTING PLATS. 

No. 

103 FAUST AND MARGUERITE. A romantic Drama in 

three acts, translated from the French of Michel Carre, by Thomas 
William Robertson. Nine male and seven female characters. Costumes 
German, of the sixteenth century ; doublets, trunks, tights. Scenery, a 
laboratory, tavern, garden, street and tableau. Time in representation, 
two hours. 

104 NO NAME. A Drama in five acts, by Wilkie Collins. 

Seven male and five female characters. A dramatization of the author's 
popular novel of the same. name. Costumes of the present day. Scenery, 
four interiors and a sea view. Time in representation, three hours. 

105 WHICH OF THE TWO. A Comeiietta in one act, by 

John M. Morton. Two male and ten female characters. A very neat and 
interesting peity come ly. Costume Russian. Scene, public room of an 
Inn. Time of playing, fifty minutes. 

106 UP FOR THE CATTLE SHOW. A Farce in one act, 

by Harry Lemon. Six male and two female characters. Costumes Eng- 
lish, of the present day. Scene, a parlor. Time in representation, forty 
minutes. 

107 CUPBOARD LOVE. A Farce in one act, by Frederick 

Hay. Two male and one female characters. A good specimen of broad 
comedy. Dresses modern, and scene, a neatly furnished apartment. 
Time in representation, twenty minutes. 

108 MR. SCROGrGINS; or, Ckanp-e of Name. A F-rce in 

one act, by William Hancock. Three male and three female characters. 
A lively piece. Costumes of the present day. Scene, a drawing room. 
Time in representation, forty minutes. 

109 LOOKED IN. A Comedietta in one act, by J. P. Wool- 

er. Two male and two female characters. Costumes of the period. Seen*, 
a drawing room. Time in representation, thirty minutes. 

110 POPPLETON'S PREDICAMENTS. A Farce in one 

act, by Charles M. Rae. Three male and six female characters. Costumes 
of the day. Scene, a drawing room. Time in representation, forty min- 
utes. 

111 THE LIAR> A Camady in two acts, by Samuel Footo. 

Seven male and two female characters. One of the best acting plays in 
any language. Costumes, embroidered court dresses, silk sacques, &c ; 
still the modern dress will suffice. Scenes— one, a park, the other a draw- 
ing room. Time in representation, one hour and twenty minutes. This 
edition, as altered by Charles Mathews, is particularly adapted for amateurs. 

112 NOT A BIT JEALOUS. A Farce in one act, by T. W. 

Robe.tson. Three male and three female characters. Costumes of the 
day. Scene, a room. Time of playing, forty minutes. 

113 CYRIL'S ' SUCCESS. A Cimady in five acts, by Henry 

J. Byron. Ten male and four female characters. Costumes modern. 
Scenery, four interiors. Time in representation, three hours twenty 
minutes. 

114 ANYTHING FOR A CHANGE. A petite Comedy in 

one act, by Shirley Brooks. Three male and three female characters. 
Costumes present day. Scene, an interior. Time in representation, fifty- 
one minutes. 

115 NEW MEN AND OLD ACRES. A Comsdy in three 

acts by Tom Taylor. Eight male and five female characters. Costumes 
present day. Scenery somewhat complicated. Time in representation, 
two hours. 

116 I'M NOT MESILF AT ALL. An original Irish Stew 

in one act, by C. A. Maltby. Three male and two female characters. Cos- 
tume of present day, undress uniform, Irish peasant and Highland dress. 
Scene, a room. Time in playing twenty-eight minutes. 



DE WITT'S ACTING PLAYS. 



No. 

117 NOT SUCH A FOOL AS HE LOOKS. A farcical 

Drama in three acts, by Henry J. Byron. Five male and four female char- 
acters. Excellent for amateurs. Costumes of the day. Scenery, three 
interiors. Time in representation, two hours. 

118 WANTED, A YOUNG LADY. A Farce in one act, by 

W. E. Suter. Three male characters. Effective for amateurs. Costumes 
of the day. Scene, a room. Time in playing, forty minutes. 

119 A LIFE CHASE. A Drama in five acts, by Adolph 

Belot ; translated by John Oxenford and Horace Wigan. Fourteen male 
and five female characters. Costumes modern French. Scenery elaborate. 
Time in representation- two hours and twenty minutes. 

120 A TEMPEST IN A TEAPOT. Petite Comedy in one 

act. Two male and one female characters. Admirably adapted for private 
performance. Costumes of the day. Sceue, an interior. Time of repre- 
sentation, thirty-five minutes. 

121 A COMICAL COUNTESS. A Farce in one act, by Wil- 

liam Brough. Three male and one female characters. Costumes French, 
of last century. Scene, a drawing room. Time in representation, forty 
minutes. 

122 ISABELLA ORSINI. A romantic Drama in fonr acts, 

by S. H. Mosenthal. Eleven male and four female characters. Costumes 
Italian, three hundred years ago. Scenery complicated. Time in repre- 
sentation, three and a half hours. 

123 THE TWO POLTS. A Farce in one act, by John 

Courtney. Four male and four female characters. Costumes modern. 
Scenery, a street and two interiors. Time in representation, forty-five 
minutes. 

124 THE VOLUNTEER REVIEW ; or, The Little Man in 

Green. A Farce in one act, by Thomas J. Williams. Six male and six 
female characters. Easily localized, as the " Home Guard, 11 or "Militia 
Muster."" Costumes of the day ; and scene, a room. Time in representa- 
tion, forty -five minutes. 

125 DEERFOOT. A Farce in one act, by T. C. Bnrnand. 

Five male and one female characters. Costumes of the day; and scene, a 
public house. Time in playing, thirty-five minutes. 

126 TWICE KILLED. A Farce in one act, by John Ox- 

enford. Six male and three female characters. Costumes modern ; scene, 
landscape and a drawing room. Time in playing, forty-five minutes. 

121 PEGGY GREEN. A Farce in on-> act, by Charles Selby. 

Three male and ten female characters. Costumes of the present day. 
Scene, a country road. Time in representation, forty-five minutes. 

128 THE FEMALE DETECTIVE; or, The Mother's Dying 

Child. A Drama in three acts, by C. H. Hazlewood. Eleven male and 
four female characters. Costumes of fifty years since. Scenery very 
elaborate. Time of playing two hours. 

129 IN FOR A HOLIDAY. A Farce in one act, by F. C. 

Burnand. Two male and three female characters. Costumes of the period, 
and scene an interior. Time in performance, thirty-five minutes. 

130 MY WIFE'S DIARY. A Farce in one act. Fro?a. the 

French of MM. Dennery and Clai'rville, by T. W. Robertson. Three male 
and one female characters. Costumes modern French, and scene a drawing 
room. Time in representation, fifty minutes. 

131 GO TO PUTNEY. A Farce in one act, by Harry 

Lemon. Fonr male and three female characters. Excellent for amateurs. 
Costumes of the day ; scene, a drawing room. Time in representation, 
forty -five minutes. „ 



No. 

132 A RACE FOR A DINNER. A Farce in on© act, by 

J. P. C4. Rod well. Ten male characters. A sterling piece. Costumes of 
the day. Scene, a tavern exterior. Time in representation, sixty minutes. 

133 TIMOTHY TO THE RESCUE. A Farce in one act, 

by Henry J. Byron. Four male and two female characters. In this 
laughable piece Spangle assumes several personifications. Costumes of 
the day, and scene a plain interior. Time in representation, forty-five 
minutes. 

134 TOMPKINS, THE TROUBADOUR. A Farce in one 

act, by MM. Lockroy and Marc Michel. Three male and two female char- 
acters. Costumes modern, and scene an ironmonger's shop. Time in play- 
ing, thirty-five minutes. 

135 EVERYBODY'S FRIEND, A Comedy in three acts, 

by J. Sterling Coyne. Six male and five female characters. Costumes 
modern, and scenery three interiors. Time in performance, two and a 
half hours. 

136 THE WOMAN IN RED. A Drama in three acts and 

Prologue, by J. Sterling Coyne. Six male and eight female characters. 
Costumes French and Italian. Scenery complicated. Time of playing, 
three hours and twenty-five minutes. 

137 L' ARTICLE 47; or Breaking the Ban. A Drama in 

three acts, by Adolph Belot, adapted to the English stage by Henry L. 
Williams. Eleven male and five female characters. Costumes French, 
of the day. Scenery elaborate. Time in representation, three hours and 
ten minutes. 

138 POLL AND PARTNER JOE ; or, The Pride of Pnt- 

ney and the Pressing Pirate. A Burlesque in one act and four scenes, by 
F. C. Burnand. Ten male and three female characters. (Many of the male 
characters are performed by ladies.) Costumes modern, and scenery local. 
Time of playing, one hour. 

139 JOY IS DANGEROUS, A Comedy in two acts, by 

James Mortimer. Three male and three female characters. Costume, 
modern French. Scenery, two interiors. Time in representation, one 
hour and forty -five minutes. 

140 NEVER RECKON YOUR CHICKENS, &c. A Farce 

in one act, by Wybert Reeve. Three male and four female characters. 
Modern costumes, and scene, an interior. Time in representation, forty 
minutes. 

141 THE BELLS ; or, the Polish Jew. A romantic moral 

Drama in three acts, by MM. Erckmann and Chat rain. Nine male and three 
female characters. Costumes Alsatian, of present date. Scenery, two 
interiors and a court room. Time of playing, two hours and twenty min- 
utes. 

142 DOLLARS AND CENTS. An original American Com- 

edy in three acts, by L. J. Hollenius, as performed by the Murray Hill 
Dramatic Association. Nine male and four female characters. Costumes 
modern, and scenery, three interiors and one garden. Time in represen- 
tation, two and three quarter hours. 

143 LODGERS AND DODGERS. A Farce in one act, hy 

Frederick Hay. Four male and two female characters. Costumes of 
the present time. Scene, a famished apartment. Time in representation, 
twenty-five minutes. One character a Yorkshire farmer. 

144 THE LANCASHIRE LASS ; or, Tempted, Tried and 

True. A domestic Melodrama in four acts and a Prologue, by Henry J. 
Bvron. Twelve male and three female characters. Costumes of the pres- 
ent day. Scenery, varied and difficult. Time in representation, three 
hours. 



DE WITT'S ACTING PLAYS. 



No. 

145 FIRST LOVE. A Comedy in one act,byEngene Scribe. 

Adapted to the American stage by L. J. Ilollenius. Four male and one 
female characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time in playing, forty-five minutes. 

146 THERE'S NO SMOKE WITHOUT FIRE. A Come- 

dietta in one act, by Thomas Picton. One male and two female charac- 
ters. Costumes of the present day, and scene, an apartment. Time in 
representation, forty minutes. 

147 THE OVERLAND ROUTE. A Comedy in three acts, 

by Tom Taylor. Eleven male and five female characters. Costumes East 
Indian (European). Scenery, steamship saloon and deck, and coral reef. 
Time in representation, two hours and forty minutes. 

148 CUT OFF TVITH A SHILLING. A Comedietta in 

one act, by S. Theyre Smith. Two male and one female characters. Scene, 
a drawing room. Time in playing, twenty-five minutes. 

149 CLOUDS. An American Comedy in four acts, oy Fred. 

Marsden (W. A. Sliver). Eight male and seven female characters. Cos- 
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time 
in representation, three hours. 

150 A TELL-TALE HEART. A Comedietta in one act, oy 

Thomas Picton. One male and two female characters. Excellent for 
private representation. Costumes of the day. Scene, a villa room. Time 
in representation, forty minntes. 

151 A HARD CASE. A Farce in one act, by Thomas 

Picton. Two male characters. A most ludicrous piece for two performers. 
Costumes of the day. Scene, an interior. Time in playing, thirty-five 
minutes. 

152 CUPID'S EYE-GLASS. A Comedy in oin act, by 

Thomas Picton. One male and one female characters. Adapted for ama- 
teur performance. Costumes of the day, and scene, a drawing room. 
Time in representation, twenty-five minutes. 

153 'TIS BETTER TO LIVE THAN TO DIE. A Farce 

in one act, by Thomas Picton. Two male and one female characters. Can 
be played readily and effectively by amateurs. Costumes, modern, and 
Bcene, an artist's studio. Time in representation, forty minutes. 

154 MARIA AND MAGDALENA. A Play in fonr acts, by 

L. J. Hollenius. Eight male, six female characters. An uniformly good 
stock company is alone needed to properly produce this charming piece. 
Costumes modern. Scenery, fine interiors and beautiful gardens. Time 
in representation, three hours. 

155 OUR HEROES. A Military Play in £ve acts, eight 

allegorical tableaux, and ten grand pictures, including a grand transfor- 
mation tableau, by John B. Henauld. Twenty-four male and live 
female characters. Large parties *f retired volunteers can appear with 
great effect in this play. Costumes modern, civil and military. Scenery, 
interiors of dwellings, encampments and battle-fields. 

156 PEACE AT ANY PRICE. A Farce in one act, by T. 

W. Robertson. One male and one female characters ; but a variety of 
voices are heard throughout the piece, the speakers being invisible. A 
qapital sketch for two lively amateur comedians. Costume modern. 
Scenery— there is but one scene throughout the piece— a meanly furnished 
apartment. Time in representation, twenty minutes. 

15T QUITE AT HOME.- A Comedietta in one act, by Arthnr 

Sketchley. Five male and two female characters. A real lively taking 
piece. All the characters passable. Costumes modern. Scenery, a shab- 
bily furnished apartment. Time in representation, forty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

158 SCHOOL. A Comedy in four acts, by T. W. Robertson. 

Six male and sis female characters*. Is a very superior piece, and lias 
three characters unusually good for either sex. Could be played with fine 
effect at a girls 1 seminary. Costumes modern. Scenery, English land- 
scape and genteel interiors. Time in representation, two hours and forty 
minutes. 

159 IN THE 'WRONG HOUSE. A Farce in one act, by 

Martin Becher. Four male aid two female characters. A very justly 
popular piece. Two of the male characters are excellent for light and low 
comedian. Good parts, too, for a young and old lady. Costumes modern. 
Scenery, an ordinary room. Time in representation, twenty-five minutes. 

160 BLOW FOR BLOW. A Drama in a Prologue and 

three acts, by Henry J. Byron. Eleven male and six female characters. 
Full of homely pathos as well as rich humor. Has several excellent parts. 
Costumes modern. Scenery, interiors of offices and dwellings. Time in 
representation, three hours. 

161 WOMAN'S VOWS AND MASONS' OATHS. In four 

acts, by A. J. H. Duganne. Ten male and four female characters. Has 
effective situations, fine characters and beautiful dialogues. Costumes 
modern, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time in performance, two 
hours and thirty minutes. 

162 UNCLE'S WILL. A Comedietta in one act, by S. 

Theyre Smith. Two male and one female characters. A brilliant piece ; 
can be easily played in a parlor. Costumes modern, and naval uniform 
for Charles. * Scenery, set interior drawing room. Time in representation, 
thirty minutes. 

163 MARCO RETTI. A romantic Drama iu three acts, by 

John M. Kingdom. Ten male and three female characters. A thrillingly 
effective piece, full of strong scenes. Costumes, brigands and rich Italian's 
dress. Scenery, interior of castle, mountain passes, and princely ball 
room. Time in representation, two hours. 

164 LITTLE RUBY ; or, Home Jewels. A domestic Drama 

in three acts, by J. J. Wallace. Six male and six female characters. 
This drama is at once affecting and effective. Little Ruby fine per- 
sonation for young prodigy. Costumes modern. Scenery, interior of 
dwelling and gardens. Time in representation, two hours. 

165 THE LIVING STATUE. A Farce in one act, by Joseph 

J. Dilley and James Allen. Three male and two female characters. Brim- 
ful of fun. Trotter a great character for a droll low comedian. Costumes 
modern, with one old Roman warrior dress. Scenery, a plain interior. 

166 BARDELL vs. PICKWICK. A Farcical sketch in 

one act, arranged from Charles Dickens. Six male and two female cha- 
racters. Uncommonly funny. Affords good chance to 'take off" local 
legal celebrities. Costumes modern. Scenery, a court room. Time in 
performance, thirty minutes. 

167 APPLE BLOSSOMS. A Comedy in three acts, by James 

Albery. Seven male and three female characters. A pleasing piece, 
with rich part for an eccentric comedian. Costumes modern English. 
Scenery, exterior and interior of iun. Time in representation, two hours 
and twenty minutes. 

168 TWEEDIE'3 RIGHTS. A Comedy in two acts, by 

James Albery. Four male and two female characters. Has several ex- 
cellent characters. John Tweedie, powerful personation ; Tim Whiffler 
very funny. Costumes modern. Scenery, a stone mason's yard and 
modest interior. Time in representation, one hour and twenty-five 
minutes. 



No. 

169 MY UNCLE'S SUIT. A Farce in ono act, by Martin 

Be cher. Four male and one female characters, lias a jolly good low 
comedy part, a line light comedy one, and a brisk, pert lady's maid. 
Costumes modern. Scenery, a well furnished sitting room. Time in rep- 
resentation, thirty minutes. 

170 ONLY SOMEBODY; or, Dreadfully Alarming. A 

Farce in one act, by Conway Edwardes and Edward Cullerne. Four 
male and two female characters. Immensely funny. Full of queer 
incidents. Every way fitted fo amateurs. Costumes modern .Scenery, 
a garden and back of a house. Time of playing, thirty minutes. 

71 NOTHING LIKE PASTE, A Farce in ore act, Iby Chas. 

Marsham Rae. Three male and one female characters. Every character 
superexcellent. Billy Doo a regular Burtonian part. Admirable piece 
for amateurs. Costumes modern. Scenery, exterior of a small villa, with 
gardens. Time in representation, forty minutes. 

172 OURS. A Conieiy in three acta, by T. W. Robertson. 

Six male and three female characters. One of the best and most admired 
plays in our language— while a fair stock company can play it acceptably. 
It has several characters fit for stars. Costumes modern, with British 
military uniforms. Scenery, gaidens, park, drawing room, and rude hut 
in the Crimea. Time of representation, two hours and thirty minutes. 

173 OFF THE STAG?-. An entirely original Comedietta 

in one act. by Sydney Rosenfeld. Three male and three female characters, 
all equally excellent. One of the sprightliest, wittiest and most amusing 

little plays ever written, causing almost an hour's constant merriment. 
Costumes modern. Scene a handsome interior. 

174 HOME. A Comedy in three acts, by T. W. Robertson. 

Four male, three female characters. A charming piece. Needs but a 
small company. Every character very good. Costumes modern. Only one 
scene throughout the play. Time of representation, two hours. 

175 CAST UPON THE WORLD. An entirely Original 

Drama in five acts, by Charles E. Newton. Ten male, five female charac- 
ters. A remarkably effective piece. Costumes modern. Scenery some- 
what elaborate, but very fine. Time of representation, two hours and 
thirty minutes. 

176 ON BREAD AND WATER. A Musical Farce in one 

act, being a free adaptation from the German, by Sydney Rosenfeld. A 
rollicking little piece. One male and two female characters. Contain ng a 
brilliant soubrette part. Costumes modern. Scene an uncarpeted school 
room. Time in representation, twenty-five minutes. 

177 I SHALL INVITE THE MAJOR. A Parlor Comedy 

in one act, by G. von Moser. Containing five characters, four male and 
one emale. " A very pleasing little play, with good parts for all. Very 
bright and witty. Costumes modem. Scene, a handsome interior. Time 
in representation, forty minutes. 

178 OUT AT SEA. An entirely Original Romantic Drama 

in a prologue and four acts, by Charles E. Newton. Sixteen male, live 
female characters. Powerfully written. Full of strong situations. Very 
telling scenic effects. Costumes modern, Time in representation, two 
hours and ten minutes. 

179 A BREACH OF PROMISE. An extravagant Comic 

Drama in two acts, by T. W. Robertson. Five male, two female charac- 
ters. A capital, very merry piece. Good for amateurs. Time in repre- 
sentation, one hour. Scenery, two interiors. Costume, modern. 

180 HENRY THE FIFTH. An Historical Play in five act . 

By William Shakspeare. Thirty-eight male, five female characters. This 
grand play has a rare blending of the loftiest tragedy, with the richest and 
broadest humor. This edition is the most complete in every respect ever 

published. Costumes rich and expensive. Scenery, etc., very elaborate. 
Time of representation, three hours. 




" Let those laugh now who never laughed before : 
And those who always laughed now laugh the more." 

Nothing so thorough and complete in the way of Ethiopian 
and Comic Dramas has ever been printed as those that appear 
in the following list. Not only are the plots excellent, the char- 
acters droll, the incidents fanny, the language humorous, hut 
all the situations, by-play, positions, pantomimic business, 
scenery and tricks are so plainly set down and clearly explained, 
that the merest novice could put any of them on the Stage. In- 
cluded in this Catalogue are all the most laughable and effective 
pieces of their class ever produced. 

*** In ordering, please copy the figures at the commencement of each 
Play, which indicate the number of the piece in " De Witt's Ethiopian 
and Comic Drama." 

(H2P Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 

Address as on first page of this Catalogue. 



ee wim wmsm # comic dbama, 

No. 

1 THE LAST OF THE MOHICANS. An Ethiopian Sketch, 

by J. C. Stewart. Three male and one female characters. Costumes of 
the day, except Indian shirts, &c. Two scenes, chamber and wood. Time 
in representation, eighteen minutes. 

2 TRICKS. An Ethiopian Sketch, hj J. C. Stewart. Five 

male and two female characters. Costumes of the period. Two scenes, 
two interiors. Time in representation, eighteen minutes. 

3 HEMMED IN. An Ethiopian Sketch, hy J. C. Stewart. 

Three male and one female characters. Costumes modern, and scene, a 
studio. Time in representation, twenty minutes. 

4 EH ? "WHAT IS IT ? An Ethiopian Sketch, hy J. C. Stewart. 

Four male and one female characters. Costumes of the day, and scene, a 
chamber. Time in representation, twenty minutes. 

5 TWO BLACK ROSES. An Ethiopian Sketch, hy J. C. 

Stewart. Four male and one female characters. Costumes modern, and 
scene, an apartment. Time in representation, twenty minutes. 



DE WITT'S ETEIIOPJAN AND COMIC DRAMA. 

No. 

6 THE BLACK CHAP FROM WHITECHAPEL. An 

eccentric Negro Piece, adapted from Burnand and Williams 1 - B. B" hv 
Henry L. Williams, Jr. Four male characters. Costumes modern. Scene, 
an interior. Time in representation, thirty minutes. 

7 THE STUPID SERVANT. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Characters very droll; 
fit for star "darky" players. Costnmes modern and fantastic dresses. 
Scenery, an ordinary room. lime in representation, twenty minutes. 

8 THE MUTTON TRIAL. An Ethiopian Sketch in two 

scenes, by James Maflit. Four male characters. Capital burlo-qne of 
courts of '•justice;" all the parts good. Costumes modern and Uiaker. 
Scenery, a wood view and a court room. Time in representataoiJhrenty 
minutes. 

9 THE POLICY PLAYERS. An Ethiopian Sketch in one 

scene, by Charles White. Seven male characters. A very clever satire upon 
a sad vice. Costumes modern, and coarse negro ragged clothes. Scenery, 
an ordinary kitchen. Time in representation, twenty minutes. 

10 THE BLACK CHEMIST. An Ethiopian Sketch in one 

scene, by Charles Wh te. Three male characters. All the characters are 
A 1, funny in thu extreme. Costumes modern or Yankee— extravagant. 
Scenery, an apothecary's laboratory. Time in representation, seventeen 
minutes. 

11 BLACK-EY'D WILLIAM. An Ethiopian Sketch in two 

scenes, by Charles White. Four male, one female characters. All the 
parts remarkably good. Costumes as extravagant as possible. Scenery, a 
police court room. Time in representation, twenty minutes. 

12 DAGUERREOTYPES. An Ethiopian Sketch in one 

scene, by Charles White. Three male characters. Full of broad humor ; 
all characters excellent. Costumes modern genteel, negro and Yankee 
garbs. Scenery, ordinary room with camera. Time in representation, 
fifteen minutes. 

13 THE STREETS OF NEW YORK; or, New York hy 

Gaslight. An Ethiopian Sketch in one scene, by Charles White. Six male 
characters. Three of the parts very droll ; others good. Costumes some 
modern, some Yankee and some loaferish. Scenery, street view. Time 
in representation, eighteen minutes. 

14 THE RECRUITING OFFICE. An Ethiopian Sketch in 

one act, by Charles White. Five male characters A piece full of incidents 
to raise mirth. Three of the paits capital. Costumes extravagant, white 
and darkey, and a comical uniform. Scenery, plain chamber and a street. 
Time in representation, fifteen minutes. 

15 SAM'S COURTSHIP. An Ethiopian Farce in one act, 

by Charles White. Two male and one female characters. All the charac- 
ters particularly jolly. Two of the parts can be played in either white or 
black, and one in Dutch. Costumes Yankee and modern. Scenery, plain 
chamber. Time in representation, twenty minutes. 

16 STORMING THE FORT. A burlesque Ethiopian Sketch 

in one scene, by Charles White. Five male characters. Richly ludicrous ; 
all the characters funny. Costumes fantastical, and extravagant military 
nniforms. Scenery, ludicrous "take oil" of fortifications. Time in repre- 
sentation, fifteen minutes. 

17 THE GHOST. An Ethiopian Sketch in one act, T?y 

Charles White. Two male characters. A right smart piece, full of laugh. 
Costumes ordinary " darkey " clothes. Scenery common looking kitchen. 
Time in representation, fifteen minutes. 

18 THE LIVE INBIAN ; or, Jim. Crow. A comical Ethi- 

opian Sketch in four scenes, by Dan Bryant. Four male, one female 
characters. As full of fun as a hedgehog is full of bristles. Costumes 
modern and darkey. Scenery, chamber and street. Time in representation, 
twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

19 MALICIOUS TRESPASS ; or, Points of Law. An Ethi- 

opian Sketch in one scene, by Charles White. Three male characters. 
Extravagantly comical ; all the parts very good. Costumes extravagant 
modern garbs. Scenery, wood or landscape. Time of playing, twenty 
minutes. 

20 GOING FOR THE CUP ; or, Old Mrs. Williams' Dance. 

An Ethiopian Interlude, by Charles White. Four male characters. One 
capital part for a bright juvenile ; the others very droll. Costumes modern 
and darkey. Scenery, a landscape or wood. Time in representation, 
twenty minutes. 

21 SCAMPINI. An anti-traqtfcal, comical, magical and 

laughable Pantomime, full of tricks and transformations, in two scenes, 
by Edward Warden. Six male, three female characters. Costumes extra- 
vagantly eccentric. Scenery, plain rustic chamber. Time in representa- 
tion, thirty minutes. 

22 OBEYING ORDERS. An Ethiopian Military Sketch in 

one scene, by John Arnold. Two male, one female characters. Mary 
Jane, a capital wench part. The piece very jocose. Costumes ludicrous 
military and old style dresses. Scenery either plain or fancy chamber. 
Time of playing, fifteen minutes. 

23 HARD TIMES. A Ne»ro Extravaganza in one scene, 

by Daniel D. Emmett. Five male, one female"~characters. Needs several 
good players— then there is " music in the air." Costumes burlesque, 
fashionable and low negro dresses. Scenery, a kitchen. Time in represen- 
tation, twenty minutes. 

24 BRUISED AND CURED. A Negro Bnrlesqne Sketch in 

one scene, by A. J. Leavitt. Two male characters. A rich satire upon 
the muscular furore of the day. Costumes tights and guernsey shirts 
and negro dress. Scenery, plain chamber. Time in representation, twenty 
minutes. 

25 THE FELLOW THAT LOOKS LIKE ME. A laughable 

Interlude in one scene, by Oliver Durivarge. Two male characters— one 
female. Boiling over with fun, especially if one can make up like Lester 
Wallack. Costumes genteel modern. Scenery, handsome chamber. Time 
in representation, twenty-five minutes. 

26 RIVAL TENANTS. A Negro Sketch, by George L. Stont. 

Four male characters. Humorously satirical ; the parts all very funny. 
Costumes negro and modern. Scenery, an old kitchen. Time of playing, 
twenty minutes. . 

27 ONE HUNDREDTH NIGHT OF HAMLET. A Negro 

Sketch, by Charles White. Seven male, one female characters. Affords 
excellent chance for imitations of popular "stars. " Costumes modern, 
some very shabby. Scenery, plain chamber. Time in representation, 
twenty minutes. 

28 UNCL^ EPH'S DREAM. An Original Negro Sketch in 

two scones and two tableaux, arranged by Charles White. Three male, 
one female characters. A very pathetic little piece, with a sprinkling of 
humor. Costumes, a modern southern dress and negro toggery. Scenery, 
wood, mansion and negro hut. Time in representation, twenty minutes. 

29 "WHO DIED FIRST ? A Ne~ro Sketch in one Scene, by 

A. J. Leavitt. Three male, one female characters. Jasper and Hannah 
are both very comical personages. Costumes, ordinary street dress and 
common darkey clothes. Scenery, a kitchen. Time in representation, 
twenty minutes. 

30 ONE NIGHT IN A BAR ROOM. A "urlesque Sk^fch, 

arranged by Charles White. Seven male characters. Has a funny Dutchman 
and two good darkey characters. Costume, one Dutch and several mod- 
ern. Scenery, an ordinary interior. Time in representation, twenty min- 
utes. 



DE WITT'S ETHIOPIAN AND OOMIC DRAMA. 



31 GLYCERINE OIL. An Ethiopian Sketch, by John Ar- 

nold. Three male characters, all good. Costumes, Quaker and eccentric 
modern. Scenery, a street and a kitchen. Time in representation, fifteen 
minutes. 

32 WAKE UP, WILLIAM HENRY. A Negro Sketch, ar- 

ranged by Charles White. Three male characters, which have been favor- 
ites of our best performers. Costumes modern— some eccentric. Scenery 
plain chamber. Time in representation, ten minutes. 

33 JEALOUS HUSBAND. A Ne 3 ro Sketch, arranged by 

Charles White. Two male, one female characters. Full of far, ical dia- 
logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham- 
ber. Time in representation, twenty minutes. 

34 THREE STRINGS TO ONE BOW. An Ethiopian Sketch 

in one scene, arranged by Charles Wlite. Four male, one female charac- 
ters. Full of rough, practical jokes. Costumes, modern. Scenery, a land- 
scape. Time in representation, fifteen minutes. 

35 COAL HEAVERS' REVENGE. A Negro Sketch in one 

scene, by George L. Stout. Six male characters. The two coal heavers 
have "roaring 1 ' parts. Costumes, modern, Irish and negro comic make 
up. Scenery, landscape. Time in representation, twenty minutes. 

36 LAUGH NG GAS. A Negro 3nrle*«jne Sketch in one 

scene, arranged by Charles' White. Six male, one female characters. Is a 
favorite with our best companies. Costumes, one modern genteel, the rest 
ordinary negro. Scenery, plain chamber. Time of playing, fifteen min- 
utes. 

37 A LUCKY JOB. A Negro Farce in two scenes, arranged 

by Charles White. Three male, two female characters. A rattling, lively 
piece. Costumes, modern and eccentric. Scenery, street and fancy cham- 
ber. Time in representation, thirty minutes. 

38 SIAMESE TWINS. A Nc^ro Burlesque Sketch, in two 

scenes, arranged by Charles White. Five male characters. One of the 
richest in fun of any going. Costumes, Irish, darkey and one wizard's 
dress. Scenery, a street and a chamber. Time in representation, twenty- 
five minutes. 

39 WANTED A NURSE. A laughable S' etch in me 

scene, arranged by Charles White. Four male characters. All the charac- 
ters first rate. Costume, modern, extravagant, one Dutch dress. Sceuery, 
a plain kitchen. Time in representation, twenty minutes. 

40 A BIG MISTAKE. A Negro Sketch in one scene, by 

A. J. Leavitt. Four male characters. Full of most absurdly funny inci- 
dents. Costumes, modern ; one policeman's uniform. Scenery, a plain 
chamber. Time in representation, eighteen minutes. 

41. CREMATION. An Ethiopia Sketch in two scenes, by 

A. J. Leavitt. Eight male, one female characters. Full of broad, palpable 
hits at the last sensation. Costumes modem, some eccentric. Scenery, a 
street and a plain chamber. Time in representation, twenty-five minutes. 

42. BAD WHISKEY. A comic Irish Sketch in one scene, 

by Sam Rickey and Master Barney. Two male, one female characters. 
One of the very best of its class. Extravagant low Irish dress and a police- 
man's uniform. 

43 BABY ELEPHANT. A Negro Sketch in t^o scenes. 

By J. C. Stewart. Seven male, one female characters. Uproariously comic 
in idea and execution. Costumes, modern. Scenery, one street, one 
chamber. Time in representation, twenty-five minutes. 

44 THE MUSICAL SERVANT. An Ethiopian Sketch in 

one scene, by Phil. II. Mowrey. Three male characters. Very original 
and very droll. Costumes, modern and low darkey. Scenery, a plain 
chamber. Time in representation, fifteen minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

45 REMITTANCE FROM HOME, An Ethiopian Sketch in 

one scene, by <\. J. Leavitt. Six male characters. A very lively piece, 
full of bustle, and giving half a dozen people a good chance. Time in repre- 
sentation, twenty minutes. 

46 A SUFPERY DAT. An Ethiopian Sketch in one scene, 

by Robert Hart. Six male, one female characters. By a very simple mechan- 
ical contrivance, plainly planned and described in this book, a few persons 
can keep an audience roaring. Time in representation, sixteen minutes. 

47 TAKE IT, DON'T TAKE IT. A Negro Sketch in one 

scene, by John Wild. Two male characters. Affords a capital chance for 
two good persons to "do" the heaviest kind of deep, deep tragedy. 
Time of representation, twenty-three minutes. 

48 HIGH JACK, THE HEELER, An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. Happily hits off the short- 
haired bragging "lighters" that can't lick a piece of big taffy. Time of 
playing, twenty minutes. 

49 ANIGHT IN A STRANGE HOTEL. A laughable Negro 

Sketch in one scene, arranged by Charles White. Two male characters. Al- 
though this piece has only two personators, it is full of fan. Time in rep- 
resentation, eighteen minutes. 

50 THE DRAFT. A Negro Sketch in one act and two scenes, 

by Charles White. Six male characters. A good deal of humor of the Mulli- 
gan Guard i nd Awkward Squad style, dramatized. Time in representation, 
eighteen minutes. 

51 FISHERMAN'S LUCK. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Decidedly the best " ii3h 
story " ever told, it needs two "star" darkeys todoit. Time in represen- 
tation, fifteen minutes. 

52 EXCISE TRIALS. A Burlesque Negro Sketch in one 

scene, arranged by Charles White. Ten male, one female characters. Full of 
strong local satire ; can be easily adapted to any locality. Time of repre- 
sentation, twenty minutes. 

53 DAMON ANB PYTHIAS. A Ke-ro Burlesque, hy Chas. 

White. Five male, one female characters, in two scenes. A stunning bur- 
lesque of the highfalutin melodrama ; capital for one or two good imita- 
tors. Time of representation, fifteen minutes. 

54 THEM PAPERS. An Ethiopian Sketch in one scene, fcy 

A. J. Leavitt. Three male characters. Full of comical mystifications and 
absurdly funny situations. Time of representation, fifteen minutes. 

55 RIGGING A PURCHASE. A Negro Sketch in one scene, 

by A. J. Leavitt. Three male characters. Full of broad comical effects. 
Time in representation, fifteen minutes. 

56 THE STAGE STRUCK COUPLE. A laughable Inter- 

lude in one scene, by Charles White. Two male, one female characters. 
Gives the comical phase of juvenile dramatic furor; very droll, contrasted 
with tho matter-of-fact darkey. Time in representation, fifteen minutes. 

57 POMPEY'S PATIENTS. A laughahl© Interlude in two 

scenes, arranged by Charles White. Six male characters. Very funny 
practical tricks of a fast youth to gain the governor's consent to his wed- 
ding his true love. Half a dozen good chances for good actors. Time in 
representation, twenty minutes. 



1)K WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. ~~ 

58 GHOST IN A PAWN SHOP. An Ethiopian Sketch in 

one scene, by Mr. Mackey. Four male characters. As comical as its title ; 
running over with practical jokes. Time of representation, twenty min- 
utes. 

59 THE SAUSAGE MAKERS. A Negro Burlesque Sketch 

in two scenes, arranged by Charles White. Five male, one fen .ale charac- 
ters. An old story worked up with a deal of laughable effect. The ponder- 
ous sausage machine and other properties need not cost more than a 
couple of dollars. Time of representation, twenty minutes. 

60 THE LOST WILL. A Negro Sketch, hy A. J. Leavitt. 

Four male characters. Very droll from the word "go." Time of repre- 
sentation, eighteen minntes. 

61 THE HAPPY COUPLE. A Short Humorous scene, ar- 

ranged by Charles White, Two male, one female characters. A spirited 
burlesque of foolish jealousy. Sam is a very frolicsome, and very funny 
young darkey. Time of playing, seventeen minutes. 

62 VINEGAR BITTERS. A Negro Sketch in one scene, ar- 

ranged by Charles White. Six male, one female characters. A broad bur- 
lesque of the popular patent medicine business ; plenty of humorous inci- 
dents. Time of representation, fifteen minutes. 

63 THE DARKEY'S STRATAGEM. A Negro Sketch in one 

act, arranged by Charles White. Three mule, one female characters. Quaint 
courtship scenes of a pair of young darkies, ludicrously exaggerated by the 
tricks of the boy Cupid. Time of representation, twenty minutes. 

64 THE DUTCHMAN'S GHOST. In one scene, "by Larry 

Tooley. Four male, one female characters. Jacob Schrochorn, the jolly 
shoemaker and J»is frau, are rare ones for raising a hearty laugh. Time of 
representation, fifteen minutes. 

65 PORTERS TROUBLES. An Amusing Sketch in one 

scene, by Ed. Harrigan. Six male, one female characters. A laughable ex- 
position of the queer freaks of a couple of eccentric lodgers that pester a 
poor "porter." Time in representation, eighteen minutes. 

66 PORT WINE vs. JEALOUSY. A Highly Amusing 

Sketch, by William Carter. Two maie, one female characters. Twenty 
minutes jammed full of the funniest kind of fun. 

67 EDITOR'S TROUBLES. A Farce in one scene, hy Ed- 

ward Harrigan. Six male characters. A broad farcical description of the 
running of a country journal "under difficulties. 1 ' Time of representa- 
tion, twenty-three minutes. 

68 HIPPOTHEATRON OR BURLESQUE CIRCUS. An 

Extravagant, funny Sketch, by Charles White. Nine male characters. A 
rich burlesque of sports in the ring and stone smashing prodigies. Time of 
playing, varies with "acts' 1 introduced. 

69 SQUIRE FOR A DAY. A Negro Sketch, hy A. J. 

Leavitt. Five male, one female characters. The " humor of it " is in the 
mock judicial antics of a darkey judge for a day. Time of representation, 
twenty minutes. 

70 GUIDE TO THE STAGE. An Ethiopian Sketch, hy Chas. 

White. Three male characters. Contains some thumping theatrical hits of 
the " Lay on Macduff," style. Time of playing, twelve minutes. 



Belozu will be found a List of nearly all the great Dramatic 
successes of the present and past seasons. Every one of these 
Plays, it will be noticed, are the productions of the most eminent 
Dramatists of the age. Nothing is omitted that can in any 
manner lighten the duties of the Stage Manager, the Scene 
Painter or the Property Man. 



ON THE JURY. A Drama, in four Acts. By Watts Phil- 
lips. This piece has seven male and four female characters. 

ELFIE; or, THE CHERRY TREE INN. A R mantio 

Urania, in three Acts. By Dion Boucicault. This piece has six male and 
four female characters. 

THE TWO THORNS. A Comedy, in four Ac's. Ky James 

Albery, This piece has nine male and three female characters. 

A WRONG MAN IN THE RIGHT PEACE. A Farce, in 
one Act. By John Oxenford. This piece has one male and three female 
characters. 

JEZE3EE ; or, THE DEAD RECKONING. By Dion Bon- 
cicault. This piece has six male and iiv. female characters. 

THE RAPAREE ; or, THE TREATY OF LIMERICK. A 

Drama, in three Acts. By Dion Boucicault. This piece has nine male and 
two female characters. 

'TWIXT AXE AND CROWN; or, THE EADY ELIZA- 

beth. A 11 Historical Play, in five Acts. By Tom Taylor. This piece has 
twenty-five male and twelve female characters. 

THE TWO ROSES. A Comedy, in three Acts. By James 

Albery. This piece has five male and four female characters. 

M. P. (Member of Pa-lioment) A Comedy, in fonr Acts. 

By T. W. Robertson. This piece has seven male and five female characters. 

MARY WARNER. A Domestic Drama, in ftmr Acts. By 

Tom Taylor. This piece has eleven male > nd five female characters. 

PHILOMEL. A Romantic Drama, in three Acts. By H. T. 

Craven. This piece has six male and four female characters. 

UNCLE DICK'S DARLING. A Domestic Drama, in three 

Acts. By Henry J. Byron. This piece has six male and five female cha- 
racters. 

LITTLE EM'LY. (David Cop^eriieTd.) A Drama, in fonr 

Acts. By Andrew Halliday. "Little Emly." has eight male and eight 
female characters. 



DP] WITT'S MANUSCRIPT PLATS. 



FORMOSA. A Drama, in four Acts. By Dion Boucicault. 

This piece has eighteen male and eight female characters. 

HOME. A Comedy, in three Acts. By T. W. Robertson. 

" Home " has four male and three female characters. 

AN ENGLISH GENTLEMAN ; or, THE SQUIRE'S LAST 

Shilling. A Drama, In four Acts. By Henry J. Byron. Thia piece con- 
tains nine male, four female characters. 

FOUL PLAY. A Drama, in four Acts. By Dion Boucicault. 

This piece has fourteen male and two female characters. 

AFTER DARK. A Drama, in four Acts. By Dion Bouci- 
cault. This piece has fourteen male and two female characters. 

ARRAH-NA-POGUE. A Drama, in three Acts. By Dion 

Boucicault. This piece has fourteen male and two female characters. 

BREACH OF PROMISE. A Comic Drama, in two Acts. Bv 
T. W. Robertson. The piece has five male and two female characters. 

BLACK AND WHITE. A Drama, in ihre^ Acts. ByWilkie 

Collins and Charles Fechter. This piece has six male and two female cha- 
racters. 

PARTNERS FOR LIFE. A Comedy, in three Acts. By 

Henry J. Byron. This piece has seven male and four female characters. 

KERRY ; or, Night and Morning. A Comely, in ono Act. 

By Dion Boucicault. This piece contains four male and two female char- 
acters. 

HINKO ; or, THE HEADSMAN'S DAUGHTER. A Roman- 
tic Play, in a Pro ogue and live Acts. By W. G. Wills. The Prologue con- 
tains four male and three female characters, The Play contains ten male 
and seven female characters. 

NOT IF I KNOW IT. A Farce, in ono Act. By John Mad- 
dison Morton. This piece contains four male and four female characters. 

DAISY FARM. A Drama, in four Acts. 3y Henry J. Byron 

This piece contains ten male and four female characters. 

EILEEN OGE ; or. DARK'S THE HOUR BEFORE THE 

Dawn. A Drama, in four Acts. By Edmund Falconer. This piece con- 
tains lifteen male and four female characters. 

TWEEBIE'S RIGHTS. A Comedy-Drama, in two Acts. By 

James Albery. This piece has four male, two female characters. 

NOTRE DAME; or, THE GIPSY GIRL OF PABIS. A 

Romantic Drama, in three Acts. By Andrew Halliday. This play has 
seven male, four female characters. 

JOAN OF ABC. A Trageiy, in Five Acts. By Tom Taylor. 

This piece has twenty-one male, four female characters. 



Manuscript copies of these very effective and very suc- 
cessful plays are now ready, and will be furnished to Man- 
agers on very reasonable terms. 



ME WITT'S SLQCtmOHART SEBIES, 

PRICE IS CENTS EACH. 



Young people toho ivere desirous of acquiring a practical knowledge of the beauti- 
ful, as ivell us highly useful art of Reading and Speaking correctly and elegantly, 
have found great difficulty in procuring books that would teach them rather in the 
manner of age iat friend than an imperious master. Such books we here present 
to the public in " De WitCs Elocutionary Series." Not only are the selections made 
very carefully from the abundant harvest of dramatic literature, but the accompany- 
ing instructions are so plain, direct and forcible, that the least intelligent can 
easily understand all the rules and ])> ecepts of the glorious a> t that has immortalized 
Roscius and Kean, Chatham and Henry. 



No. 1. THE ACADEMIC SPEAKER. Containing an un- 
usual variety of striking Dramatic Dialogues, and other most effective 
scenes. Selected with great cure and judgment from the noblest and 
wittiest Dramas, Comedies and Farces most popular upon the best stages. 
Interspersed with such able, plain and practical criticisms and remarks 
upon Elocution and stage effects, as to render this work the most valuable 
hand-book to the young orator that lias ever been produced. 

COSTESTS.- General Introductory Reraarks ; On Hie quality of Selections ; On True Eloquence ; 
Ou Awkward Delivery ; On Necessity ol Attentive Study ; On Appropriate Gesture ; On the 
Appearance of Ladies upon the Stage ; The Stage and the Curtain ; Remarks upon the subject 
of Scenery ; How to easily Construct a Stage ; Stage Arrangements and Properties ; Remarks 
upon improvising Wardrobes, etc., etc. There are Twelve pieces in this book that require two 
Male Characters ; Six pieces that require six Male Characters ; Two pieces that require Jour 
Male Characters. ,' 

No. 2. THE DRAMATIC SPEAKER. Composed of many 

very carefully chosen Monologues, Dialogues and other effective Scenes, 
from the most famous Tragedies, Comedies and Farces. Interspersed with 
numerous Directions and Instructions for their proper Delivery and Per- 
formance. 

COIIfENtS.- There are three pieces in this book that require one Male Character: One that requires 
three Male Characters ; Ten that require two Male Characters , Nine that require one Male and 
one Female Characters ; Four that require three Male Characters ; One that requires two Male and 
one Female Characters ; One that requires two Female Characters ; One that requires one Male and 
two Female Characters. 

No. 3. THE HISTRIONIC SPEAKER. Being a carefnl 

compilation of the mo«t amusing Dramatic Scenes, light, gay, pointed, 
witty and sparkling. Selected from the most elegantly written and most 
theatrically effective Comedies and Farces upon the English and American 
Stages. Properly arranged and adapted for Amateur and Parlor Represen- 
tation. 

COSTEiVTS — Three of the pieces in this book require two Female Characters; Owe piece requires 
seven Female Characters ; Nineteen pieces that require one Male and one Female Characters : One 
piece that requires one Male auU two Female Characters ; One piece that requires two Male and 
one Female Characters. 

No. 4. THE THESPIAN SPEAKER. Being the best Scenes 

from the best Plays. Every extract is preceded by valuable and very plain 
observations, teaching the young Forensic Student how to Speak and Act 
in the most highly approved manner. 

CONTENTS.-fu'e ol the pieces in this hook require me Male and one Female Characters ; Three of 
the pieges. require three Male Characters ; Three of the pieces require two Male and one Female 
Characters ; Seven of the pieces require two Male Characters ; One or the pieces require one Male 
and ime Female Characters : Two of the pieces require two Male and two Female Characters ; One 
of the pieces require four Male' and /owrrFemale Characters ; 'Three of the pieces requira three 
Male and one Female Characters. 

*>;.* Single copies sent, on receipt of price, postage free. 
[[glT Address as per first page of this Catalogue, 



No. 
86. 



91. 
98. 
94. 
95. 

98. 
lOO. 
108. 
103. 

104. 

106. 

to:. 
no. 

114. 
IIS. 
116. 

117. 

188. 
193. 
184. 
185. 
1ST. 
138. 
189. 
130. 

131. 



134 
135, 



Composer. 

Last Favewell Tucker. 

My Heart is Thine Alone. .Glover. 

Come Back to Erin Glaribel. 

Morn on the Meadow. . .Wrighton. 

Sad Brown Leaves Chantrey. 

Fond Memory Glover. 

,1 Heard a Spirit Sing Taylor. 

Autumn Twilight Glover. 

Rocked in the Cradle of the 

Deep Tucker. 

Origin of the Harp Moore. 

Strangers Tfet Claribel. 

Sweet Land of Tyrol Theresa. 

My Pretty Bird, Sing On. 

Lindbland. 

Spring and Autumn Tucker. 

Upon the Snowy Mountain Tops. 
Moller. 

Ave Maria G uonod. 

Believe Me if all Endearing 

Charms Moore. 

Children's Voices , Claribel. 

Long, Long Weary Bay. . .Tucker. 
"Why was I Looking Out? 

Blum en thai. 
Angels Ever Bright and Fair. 

Tucker. 

Annie Laurie Tucker, 

My Pretty Jane Bishop. 

Distant Land Henslett. 

Dream of Love Rod well. 

I Love and I am Beloved. .Richard. 

Xenia Lutz. 

On the Mountains Benedict. 

Oh, Waly. Waly, Up the Bank. 

Blumenthal. 

The Birds were Telling One 

Another Smart. 

Come Sit Thee Down Sinclair. 

, The Standard Bearer. .Lindpainter. 

, Shells of Ocean Cherry. 

Isle of Beauty, Fare Thee Well. 

Barley. 

Bloom Again, Sweet Prison 

Flower Young. 



No. Composer. 

137. Ever of Thee Hall. 

138. As I'd Nothing Else to Do. 

Hatton, 

139. Grieve Not for Me. Wrightea. 

140. I Cannot Sing tho Old Songs. 

Claribel. 

141. Why Do Summer Roses Fade? 

Barker. 

144. I Cannot Mind my Wheel, 

Mother Ltnley. 

145. Araby's Daughter Kiallmark. 

146. Young Jenny Allen. 

147. O Fair Dove ! O Fond Dove ! 

Gatty. 

148. Oh, Keep Me in "If our Memory. 

Glover. 

158. Upon the Danube River. ..Tucker. 
154. Just Touch the Harp Gently, My 

Pretty Louise Blamphin. 

159. When the Corn is Waving, 

Annie Blamphin. 

160. Love's Secret Tucker. 

163. When my Ship Comes Home. 

Lee. 

164. Bird on the Tree Nish. 

165. Yeoman's Wedding Song. 

Ponlatowakl. 

166. Linden Waltz A'<*«* 

167. Michael Bray Philp. 

168. Lover's Pen Poniatowskl. 

169. Eily's Reason Molloy. 

170. With the Stream Tours. 

174. Out in the Cold. Bagnall. 

175. Tho Wishing Cap Wrighton. 

178. The Island of Green. 

Arranged by Tucker. 

180. Meeting in Heaven Wrighton. 

18». Jenny of the Mill Leduc. 

186. Esmeralda Levey. 

196. Heavenly Golden Shore. Rosenthal. 

197. Don't You Bemember, Love ? 

Lawrence. 

198. Hark! the Drum Nlih. 

*00. Anita (the Chieftain's Wife). 

Richards. 



OPERATIC SONGS. 



le). Little Blue Butterfly Herve. 

87. Loving Daughter's Heart Balfe. 

89. Paradise of Love Balfe. 

69. O Rare Malvoisie I Offenbaeh. 

71. Light of Other Days Balfe- 

73. Rhotoanago's Partner Fair. 

Offenbach. 

77. Ah ♦ 'What a Fate I Offenbach. 

SO. Th«> You'll Remember Me.. Balfe. 

81. Turtle Doves Offenbach. 

83. 'Tis Sal to Leave 0«r Father, 
land Balfe- 



On Yonder Rock Reclining... Amber. 
Walk Up Now, This is No Hum- 
bug. 
Song of the Tight Rope Dancer. 

Offenbach. 

These Aching Teeth Offenbach. 

Painted so Fine— Eyes Divine. 

Offenbach. 

Anvil Chorus Verdi. 

. Fool, You may Say it if You 

Please Offenbach. 



LIBRPRY OF CONGRESS 




jTo. Compoter. 

195. Oik. flowers so Fair and Sweet. 

Offenbach. 

108. Mlgnon Thomas. 

lOO. Pleased, with Myself Offeubach. 

111. Heart Bowed I>owd Balfe. 

IK. Young Agnes. Beauteous 

Flower Auber. 

113. I Dreamt I Dwelt iu Marblw 

Halls. Balfe. 

118. Her Gentle Voice Expressed, etc. 

Balfe. 



014 386 191 



119, The Tempest of the Heart. .Verdi. 

11**. Why Linger, Mourner Memory? 

Mellow. 

12t. List to the Gay Castanet ... .Balfe. 

ie6. The Ball Thomas. 

148. My Own, My Guiding Star. 

Macfarren. 

143. Ah J So Pure Flotow. 

155. Where shall I Take my Bride ? 
Heme. 



COMIC AND SERIO COMIC SONGS. 



1. Pretty Polly, if you Love Me. 

Coote. 

«. Fisherman's Daughter Bagnall. 

4. I'll Tell Your Wife Egertou. 

7. Up in a Balloon Hunt. 

9. Captain .links Maclagan. 

11. Champagne Charlie Lee 

IS. Thady O'Flynn Molloy. 

13. Tassels on the Boots Tucker. 

15. Tommy Dodd Clarke. 

17. That's the Style for Me Youii?. 

18. Pretty Little Flora Leyborne. 

19. Bother the Men Walker 

IBS. I Wish I -was a Fish Hunt. 

J84. Put it Down to Me Gatty. 

«8. Oh, Wouldn't You Like to Know? 

Musgrava. 

30. Where is my Nancy? Hunt. 

33. Iinmenseikoif Lloyd. 

3*. Good-bye, John; or, Chickabiddy. 

40. Beau of Saratoga Vance. 

42. Not for Joseph Lloyd. 

44. California Gold Hunt. 

48. Susan, Susan, Pity my Confusion. 
Barn am. 

SO. Walking in the Park Lee. 

5%. Bell Goes a-Biuging for Sa-i-rah. 
Hunt. 
53. Call Her Back and Kiss Her. 

Minasi. 

56. Flying Trapeze Lee. 

58. It's Nice to be a Father Hunt. 



MOTTO SONGS. 



66. She Danced Like a Fairy. .Dudley. 

67, I Never Go East of Madison 

Square. 

©8. Lancashi re Lass Williams. 

96. Bowing Home in the Morning. 
KdgertoB. 
151. If Ever I Cease to Love. .Leybourne. 
153. His Heart was True to Poll. 

Tucker. 

156. I'm a Timid, Nervous Man. 

Cherry. 

157. Ithein Wine Sharley. . .Leybourne. 

158. Heathen Chinee Tucker. 

16%. Housekeeper's Woes .Fechter. 

171. Down in a Coal Mine. . Geoghegan. 

17a. Dolly Varden Lee. 

173. Little Coquette Lee. 

176. Good-bye, Charlie Hunt. 

181. Bom * Bom ! Bom I Hunt. 

183. Modern Times ....Coote. 

184. The Hardware Line Bank*. 

185. Jack's Present. ... Byron. 

189. When the Band Begins to Play. 

Hunt. 

190. Upon the Grand Parade.. .Daviei. 

191. Ada with the Golden Hair. 

G. W. K. 
19S. Awfully Clever Hunt. 

193. Perhaps She's on the Railway. 

McCarthy. 

194. Mother Says I Mustn't Hunt. 



34, 

46, 

54 



177. 
179. 
187. 



Way of the World Ellery. 

It's All the Same to Sam. ..Hunt. 

It's Better to Laugh than to Cry. 
Clifton. 

On, Boys, On, the Course is 
Always Clear Fetchet. 

Act on the Square, Boys Lee. 

A Bit of my Mind Bell. 

An Old Man's Advice Tlnney. 

Up and be Doing Smith. 

Ten Minutes Too Late Clifton. 



195. Would You be Surprised?. .Coot*. 
199. O'Donnell Aboo Morine. 

149. Popular Airs for Little Fingers, 

No. 1. Walking in the Park ; Beauttfsi 
Bells. 

150. Popular Airs for Little Fingers, 

No. 2. Captain Jinka ; Tapping at tha 
Garden Gate. 
161. Berger Family " Bells 1 



